Vol. 23 No. 32 (2018): New Western Balkans Cinema

Vol. 23 No. 32 (2018)

Published 2018 December 22
New Western Balkans Cinema

EDITOR-IN-CHIEF:
prof. UAM dr hab. Andrzej Szpulak; Institute of Film, Media and Audiovisual Arts, Adam Mickiewicz University, Poznań

GUEST EDITORS:
prof. UAM dr hab. Krystyna Pieniążek-Marković; Institute of Slavic Philology, Adam Mickiewicz University, Poznań
prof. UAM dr hab. Andrzej Szpulak; Institute of Film, Media and Audiovisual Arts, Adam Mickiewicz University, Poznań
mgr Joanna Sikorska; Institute of Film, Media and Audiovisual Arts, Adam Mickiewicz University, Poznań
mgr Zuzanna Lewandowska; Institute of Film, Media and Audiovisual Arts, Adam Mickiewicz University, Poznań

Journal cover Images. The International Journal of European Film, Performing Arts and Audiovisual Communication, volume 23, no. 32, year 2018, title New Western Balkans Cinema
Tomić Janica
5–14
Time networks: history and synchronicity in contemporary Croatian cinema
https://doi.org/10.14746/i.2018.32.01
PDF
Nemanja Zvijer
15–23
Film (de)construction of national identity. The case of Serbian films from the 1990s
https://doi.org/10.14746/i.2018.32.02
PDF
Nevena Daković
25–37
Memory images: Holocaust memory in Balkan cinema(s)
https://doi.org/10.14746/i.2018.32.03
PDF
Nikica Gilić
39–47
Localised dystopia in Croatian and Serbian cinema
https://doi.org/10.14746/i.2018.32.04
PDF
Ana Grgic
49–56
Deviating memories: Armando Lulaj’s seriously playful excursions into Albania’s history
https://doi.org/10.14746/i.2018.32.05
PDF
Krunoslav Lučić
57–76
Stylistic heritage and tendencies in contemporary Croatian cinema
https://doi.org/10.14746/i.2018.32.06
PDF
Patrycjusz Pająk
77–96
Early 21st-century Serbian exploitation cinema
https://doi.org/10.14746/i.2018.32.07
PDF
Dejan Durić
97–109
“Her-story”: contemporary female film directors in post-Yugoslav cinema
https://doi.org/10.14746/i.2018.32.08
PDF
Maja Bogojević
111–118
The trouble of gender sin in post-Yugoslav film – in the name of the father
https://doi.org/10.14746/i.2018.32.09
PDF

Filmmaker workshop

Wojciech Staroń
121–134
Documentary versus fiction – reflections, experiences and work methods of a director of photography
https://doi.org/10.14746/i.2018.32.10
PDF (Język Polski)

Author Gallery

. .
135–153
The Balkans. Impressions
PDF

Varia

Julian Bejko
156–160
The cinematographic representation of social frames
https://doi.org/10.14746/i.2018.32.11
PDF
Marek Hendrykowski
161–169
Features of film narrative
https://doi.org/10.14746/i.2018.32.12
PDF (Język Polski)
Piotr Zwierzchowski
170–176
Nudity as a promotional strategy in the Polish cinema of the 1980s
https://doi.org/10.14746/i.2018.32.13
PDF (Język Polski)
Krzysztof Zanussi, Ewa Ciszewska
177–184
A true filmmaker cannot work only in his homeland. A conversation with Krzysztof Zanussi about his co-operation with the German film industry by Ewa Ciszewska
https://doi.org/10.14746/i.2018.32.14
PDF (Język Polski)
Joanna Sikorska
185–196
Poetics of the fear. The use of horror’s convention in video games
https://doi.org/10.14746/i.2018.32.15
PDF (Język Polski)
Marcin Adamczak, Agnieszka Orankiewicz
197–209
Film and finance. An attempt at a statistical comparison of the attendance results and ratings of Polish films in the years 2012–2015
https://doi.org/10.14746/i.2018.32.16
PDF
Artur Majer
210–218
Film Council 2014–2015: TVP in the service to cinematography
https://doi.org/10.14746/i.2018.32.17
PDF (Język Polski)
Andrzej Szpulak
219–230
Echoes of Elem Klimov’s 'Come and See' in two Polish anti-war films – Jan Komasa’s 'Warsaw 44' and Wojciech Smarzowski’s 'Wołyń'
https://doi.org/10.14746/i.2018.32.18
PDF (Język Polski)
Marek Hendrykowski
231–241
Semiotic of curiosity
https://doi.org/10.14746/i.2018.32.19
PDF (Język Polski)
Piotr Zwierzchowski
242–247
Following the path of Irena Kamieńska
PDF (Język Polski)

Notes about authors

. .
249–252
Noty o autorach
PDF (Język Polski)
. .
253–256
Notes about authors
PDF