Dijana Jelača – författare

Screening Women Filmmakers is an essential collection of 58 essays, each focusing on a single film directed by a woman-identified filmmaker, inclusively defined, from the earliest days of filmmaking (1896) to the present day, and from countries and regions around the globe.This volume offers students and scholars an inclusive survey of woman-made cinema through diverse critical-theoretical frameworks and methodologies. Each chapter examines the aesthetic, cultural, and political dimensions of its featured film, drawing upon the multifaceted perspectives and positionalities of both filmmakers and authors. The collection's global and historical scope—from early cinema to contemporary works—provides readers with a substantive understanding of the vibrancy and versatility of women's filmmaking across different contexts and movements. As part of the Screening Cinema series, it is specifically designed as a pedagogical resource with films selected for their accessibility and suitability for classroom screening and discussion.This book is essential reading for students and instructors in film studies, gender studies, and women's studies courses where film screenings are central to learning. It will appeal to scholars of feminist film studies and women's film history, as well as general readers interested in women's achievements behind the camera throughout cinema's past and present.

Screening Women Filmmakers is an essential collection of 58 essays, each focusing on a single film directed by a woman-identified filmmaker, inclusively defined, from the earliest days of filmmaking (1896) to the present day, and from countries and regions around the globe.This volume offers students and scholars an inclusive survey of woman-made cinema through diverse critical-theoretical frameworks and methodologies. Each chapter examines the aesthetic, cultural, and political dimensions of its featured film, drawing upon the multifaceted perspectives and positionalities of both filmmakers and authors. The collection's global and historical scope—from early cinema to contemporary works—provides readers with a substantive understanding of the vibrancy and versatility of women's filmmaking across different contexts and movements. As part of the Screening Cinema series, it is specifically designed as a pedagogical resource with films selected for their accessibility and suitability for classroom screening and discussion.This book is essential reading for students and instructors in film studies, gender studies, and women's studies courses where film screenings are central to learning. It will appeal to scholars of feminist film studies and women's film history, as well as general readers interested in women's achievements behind the camera throughout cinema's past and present.

The links between cinema and war machines have long been established. This book explores the range, form, and valences of trauma narratives that permeate the most notable narrative films about the breakup of Yugoslavia.

The links between cinema and war machines have long been established. This book explores the range, form, and valences of trauma narratives that permeate the most notable narrative films about the breakup of Yugoslavia.

The Routledge Companion to Cinema and Gender comprises forty-three innovative essays that offer both an overview of and an intervention into the field of cinema and gender. The contributions in this volume address a variety of geographical and cultural contexts through an analysis of cinema, from the representation of women and Islam in Middle Eastern film, and female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. The book includes a special focus on women directors in a global context, examining films and filmmakers from Asia, Africa, Australia, Europe, and North and South America.Alongside a comprehensive overview of feminist perspectives on genre, this collection also offers discussion on a range of approaches to spectatorship, reception studies, and fandom, as well as transnational approaches to star studies and the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, ecocinema, the post-human, and the methodological dimensions of feminist film history.This Routledge Companion provides researchers, students, and scholars with an essential guide to the key political, cultural, and theoretical debates surrounding cinema and gender.

Film Feminisms offers a global and updated overview of the history, present-day concerns, and future of feminist film and theory. It introduces frameworks from phenomenology, affect theory, and psychoanalysis to reception studies, new media theories, and critical historiography, as well as engaging with key issues in documentary ethics, genre theory, and star studies.This new textbook situates feminist film theory within the larger framework of transnational scholarly approaches, as well as decolonial, queer, disability studies, and critical race theories. It offers a much-needed update on pedagogical approaches to feminist film studies, providing discussions of filmmakers and films that have been overlooked in the field, or that are overdue for further analysis. Each chapter is supported by a variety of pedagogical features including activities, key terms, and case studies. Many of the activities draw on contemporary digital media, such as social media and streaming platforms, to update the field to today's changing media landscape.

Film Feminisms offers a global and updated overview of the history, present-day concerns, and future of feminist film and theory. It introduces frameworks from phenomenology, affect theory, and psychoanalysis to reception studies, new media theories, and critical historiography, as well as engaging with key issues in documentary ethics, genre theory, and star studies.This new textbook situates feminist film theory within the larger framework of transnational scholarly approaches, as well as decolonial, queer, disability studies, and critical race theories. It offers a much-needed update on pedagogical approaches to feminist film studies, providing discussions of filmmakers and films that have been overlooked in the field, or that are overdue for further analysis. Each chapter is supported by a variety of pedagogical features including activities, key terms, and case studies. Many of the activities draw on contemporary digital media, such as social media and streaming platforms, to update the field to today's changing media landscape.

Comprised of 43 innovative contributions, this companion is both an overview of, and intervention into the field of cinema and gender. The essays included here address a variety of geographical contexts, from an analysis of cinema. Islam and women and television under Eastern European socialism, to female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. A special focus is on women directors in a global context that includes films and filmmakers from Asia, Africa, Australia, Europe, North and South America. The collection also offers a solid overview of feminist contributions to thinking on genre from the "chick flick" to the action or Western film, to film noir and the slasher. Readers will find contributions on a variety of approaches to spectatorship, reception studies and fandom, as well as transnational approaches to star studies and essays addressing the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, eco-cinema and the post-human. Finally, readers interested in the history of film will find essays addressing the methodological dimensions of feminist film history, essays on silent and studio era women in film, and histories of female filmmakers in a variety of non-Western contexts.

Explores the current and future trajectories of the paradigm of postsocialism.If socialism did not end as abruptly as is sometimes perceived, what remnants of it linger today and will continue to linger? Moreover, if postsocialism is an umbrella term for the uncertain times of various transitions that followed in socialism's wake, how might the "post" be rendered complicated by the notion that the unfinished business of socialism continues to influence the trajectory of the future? The Future of (Post)Socialism examines this unfinished business through various disciplinary and transdisciplinary approaches that seek to illuminate the postsocialist future as a cultural and social fact. Drawn from the fields of history, ethnology, anthropology, sociology, economics, political science, education, linguistics, literature, and cultural studies, contributors analyze various cultural forms and practices of the formerly socialist cultural spaces of Eastern Europe. In so doing, they question the teleology of linear transitional narratives and of assumptions about postsocialist linear progress, concluding that things operate more as continued interruptions of a perpetually liminal state rather than as neat endings and new beginnings.

Explores the current and future trajectories of the paradigm of postsocialism.If socialism did not end as abruptly as is sometimes perceived, what remnants of it linger today and will continue to linger? Moreover, if postsocialism is an umbrella term for the uncertain times of various transitions that followed in socialism's wake, how might the "post" be rendered complicated by the notion that the unfinished business of socialism continues to influence the trajectory of the future? The Future of (Post)Socialism examines this unfinished business through various disciplinary and transdisciplinary approaches that seek to illuminate the postsocialist future as a cultural and social fact. Drawn from the fields of history, ethnology, anthropology, sociology, economics, political science, education, linguistics, literature, and cultural studies, contributors analyze various cultural forms and practices of the formerly socialist cultural spaces of Eastern Europe. In so doing, they question the teleology of linear transitional narratives and of assumptions about postsocialist linear progress, concluding that things operate more as continued interruptions of a perpetually liminal state rather than as neat endings and new beginnings.

This edited volume explores the cultural life of capitalism during socialist and post-socialist times within the geopolitical context of the former Yugoslavia. Through a variety of cutting edge essays at the intersections of critical cultural studies, material culture, visual culture, neo-Marxist theories and situated critiques of neoliberalism, the volume rethinks the relationship between capitalism and socialism. Rather than treating capitalism and socialism as mutually exclusive systems of political, social and economic order, the volume puts forth the idea that in the context of the former Yugoslavia, they are marked by a mutually intertwined existence not only on the economic level, but also on the level of cultural production and consumption. It argues that culture—although very often treated as secondary in the analyses of either socialism, capitalism or their relationship—has an important role in defining, negotiating, and resisting the social, political and economicvalues of both systems.