Ana Grgic – författare

Based on original archival research, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective. It investigates how the unique geopolitical positioning of the Balkan space and its multiculturality influenced and shaped visual culture and cinema. Countering Eurocentric modernity paradigms and reframing hierarchical relations between centres and peripheries, this book adopts an alternative methodology for interstitial spaces. By deploying the notion of the haptic, it establishes new connections between moving image artefacts and print media, early film practitioners, the socio-political context and cultural responses to the new visual medium.

Based on original archival research, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective. It investigates how the unique geopolitical positioning of the Balkan space and its multiculturality influenced and shaped visual culture and cinema. Countering Eurocentric modernity paradigms and reframing hierarchical relations between centres and peripheries, this book adopts an alternative methodology for interstitial spaces. By deploying the notion of the haptic, it establishes new connections between moving image artefacts and print media, early film practitioners, the socio-political context and cultural responses to the new visual medium.

Based on original archival research, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective. It investigates how the unique geopolitical positioning of the Balkan space and its multiculturality influenced and shaped visual culture and cinema. Countering Eurocentric modernity paradigms and reframing hierarchical relations between centres and peripheries, this book adopts an alternative methodology for interstitial spaces. By deploying the notion of the haptic, it establishes new connections between moving image artefacts and print media, early film practitioners, the socio-political context and cultural responses to the new visual medium.

The first inclusive collection to examine post-2008 developments in Balkan cinema, this book brings together a number of international scholars to explore its industrial contexts and textual dimensions. With a focus on transnational links, global networks and cross-cultural exchanges, the book addresses the role of national and supranational institutions as well as film festival networks in supporting film production, distribution and reception. It also identifies key characteristics in the subject matter and aesthetics of Balkan films made since the global economic crisis. Through critical and comprehensive country profiles, and with a focus on smaller and underrepresented cinemas from Montenegro, Kosovo, North Macedonia and Albania, the collection argues for the continuing relevance of the concept of 'Balkan cinema'.