Browsing by Subject "Film festival"
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Item After the archive : framing cultural memory in ex-Yugoslav collections(2013-12) Kotecki, Kristine Elisa; Cvetkovich, Ann, 1957-; Carter, Mia; Hoad, Neville; Kuzmic, Tatiana; Shingavi, SnehalUpon Yugoslavia’s breakup into five successor states in the 1990s, its national archives also divided according to the new national borders. This re-ordering of institutional history took most dramatic form in the systematic destruction of the archival records held by Bosnia-Herzegovina; incendiary shells destroyed the holdings of its National Library in 1992. In contrast to the national divisions that “balkanized” and obliterated the archives, ex-Yugoslav compilations draw works from and about the region together. This dissertation analyzes the collections that formed as “alternative archives” in response to Yugoslavia’s dissolution and tracks how individual works within these collections are translated and reframed as they circulate internationally. It argues that distinct texts gathered together into the unit of the collection can effectively convey the complexity and contradiction of ex-Yugoslav cultural politics. Whereas compilations of texts of texts identified as representing various nationalities approximate international alliance through unities such as “internationals women’s solidarity,” “European unification” and “Yugoslav reunification,” close reading of the texts juxtaposed within the collections can also complicate the progressive solidarity that frames them. Ex-Yugoslav collections of print and film, and the situated interpretations they engender, provide a rich archive of responses to the post-Cold-War transition toward globalization and Europeanization in the midst of ethnic and religious extremism. In this project, I describe the “collection” as the product of gathering individual texts together, arranging them, and framing them with a unifying narrative. Literary anthologies, library archives, museum exhibits and film programs at festivals thus all function as collections, or archives, of cultural materials formed during and after Yugoslavia’s dissolution. I argue that the works in these collections reflect forms of organization and alliance that disrupt the common sense of existing geopolitical alignment and put pressure on normative desires for a post-Yugoslav future based on European attachments.Item Tango with the global, national, and local : new multi-functional organizations in the Chinese independent documentary ecosystem(2011-08) Yang, Jing; Schatz, Thomas, 1948-; Chang, Sung-sheng, 1951-Compared to the early days of China’s New Documentary Movement in the 1990s, Chinese independent documentary in the past decade has become more diverse in topic and style, thanks to technologies such as digital video cameras and the internet. Independent documentaries capture a fast-changing China in progress, and have thus drawn scholarly attention from cultural or social studies perspectives. However, industrial development in the past decade has often been neglected in favor of textual analysis of films. Since the marketization of independent documentaries in the 1990s was mainly through international film festivals, and a domestic industry has been lacking, it is easy to assume that Chinese independent documentarians today still have to follow the same path as their counterparts in the 1990s. However, my research on the Chinese independent documentary scene in Beijing in 2009 showed me a picture of a burgeoning domestic industry for independent documentaries, with a handful of newly emerged multi-functional independent film organizations practicing production, distribution and exhibition. Since a real industry has not yet formed, I use “ecosystem” instead of “industry” in the context of Chinese independent documentary. This study compares three representative organizations which are different from each other in nature and emphases, from their birth and evolution to their work and strategies. I argue that these organizations have created new possibilities and opportunities for today’s Chinese independent documentaries, through their different strategies in balancing themselves in a three-legged system of the global, national and local forces and resources.