Vol. 23 No. 32 (2018)

Published 2018 December 22

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

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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

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Nevena Daković

25–37

Memory images: Holocaust memory in Balkan cinema(s)

https://doi.org/10.14746/i.2018.32.03

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Nikica Gilić

39–47

Localised dystopia in Croatian and Serbian cinema

https://doi.org/10.14746/i.2018.32.04

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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

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Krunoslav Lučić

57–76

Stylistic heritage and tendencies in contemporary Croatian cinema

https://doi.org/10.14746/i.2018.32.06

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Patrycjusz Pająk

77–96

Early 21st-century Serbian exploitation cinema

https://doi.org/10.14746/i.2018.32.07

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Dejan Durić

97–109

“Her-story”: contemporary female film directors in post-Yugoslav cinema

https://doi.org/10.14746/i.2018.32.08

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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

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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

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Author Gallery

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135–153

The Balkans. Impressions

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Varia

Julian Bejko

156–160

The cinematographic representation of social frames

https://doi.org/10.14746/i.2018.32.11

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Marek Hendrykowski

161–169

Features of film narrative

https://doi.org/10.14746/i.2018.32.12

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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

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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

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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

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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

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Artur Majer

210–218

Film Council 2014–2015: TVP in the service to cinematography

https://doi.org/10.14746/i.2018.32.17

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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

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Marek Hendrykowski

231–241

Semiotic of curiosity

https://doi.org/10.14746/i.2018.32.19

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Piotr Zwierzchowski

242–247

Following the path of Irena Kamieńska

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Notes about authors

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249–252

Noty o autorach

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253–256

Notes about authors

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