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After YugoslaviaThe Cultural Spaces of a Vanished Land$
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Radmila Gorup

Print publication date: 2013

Print ISBN-13: 9780804784023

Published to Stanford Scholarship Online: September 2013

DOI: 10.11126/stanford/9780804784023.001.0001

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PRINTED FROM STANFORD SCHOLARSHIP ONLINE (www.stanford.universitypressscholarship.com). (c) Copyright Stanford University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in SSO for personal use.date: 14 October 2019

Marking the Trail

Marking the Trail

Balkan Women Filmmakers and the Transnational Imaginary

Chapter:
(p.200) 13 Marking the Trail
Source:
After Yugoslavia
Author(s):

Meta Mazaj

Publisher:
Stanford University Press
DOI:10.11126/stanford/9780804784023.003.0014

Foregrounding the importance of women director’s participation at the prestigious international film festivals where male auteurs have long reigned, this chapter explores the case of Balkan women filmmakers who just recently began to make a mark on the prestigious international festivals. The recent emergence and success of directors such as Jasmila Žbanić, Aida Begić, and Maja Weiss is a much anticipated development, especially given the fact that the big explosion of Balkan cinema onto the international stage in the 1990s was marked by a complete absence of women’s films, despite (or perhaps because of) the fact that the Balkan war was an explicitly gendered war. Their case, the paper argues, not only provides key critical reflection on the transitional society of the post-Yugoslav nations, but it points to the political urgency of women filmmakers’ inscription onto the sphere of world cinema.

Keywords:   Balkan women filmmakers, filmmaking, national cinema, cinema d’auteur, transitional society, transnational imaginary

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