FILM AND POLITICS
Сажетак
FILM AND POLITICS, Edited book from the international scientific conference FILM AND POLITICS, March 2024, Institute for Political Studies, Belgrade, editor Ivan Matić and translator Dajana Lazarević.
A large number of scientific papers have been written in Serbia on the topic of creating and analyzing film art. Nevertheless, by reviewing the professional literature, we came to the conclusion that there are numerous topics that researchers have not covered to date, above all when it comes to politics on film. Film is a very powerful (if not the most powerful) means of implementing soft power. That means there is a real need in modern Serbian science to pay more attention to exactly that topic.
Since the dawn of modern cinema in the early twentieth century, film and politics have been inextricably linked. This link, however, has not always been apparent: Yet, as is made evident even by the number of articles dealing with the link between film and soft power in this edited book, cinema, even in its most abstract forms, has almost always had some form of ideological background or worldview and has typically sought to introduce political ideas into the minds of the audience without their direct awareness.
The first chapter of this edited book deals with apparently the ‘least’ political form of film: sci-fi and fantasy: these genres are typically set either many centuries into the future, or in distant, magical realms, but the inspiration behind them always goes back to our world and its goings-on.
The second chapter is dedicated to the function of film as a tool of geopolitics and global strategy: here we explore how countries seek to further their goals through the soft power of film.
Ideology is the centerpiece of the third chapter, with articles dealing with both the representations of various ideologies on the big screen, and the effects of said ideologies on the films made under their banner.
The topic of the fourth chapter are political documentaries and filmmaking: here, our authors focus on the ‘most’ political on films as well as the process of filmmaking itself in its various political and ideological aspects.
Finally, the final chapter deals with the relation between film and history, exploring various historical topics, eras, and personalities through the lens of cinema.
To begin with, read what works we have prepared:
THE POLITICAL ASPECTS OF FANTASY AND SCI-FI
Primož Krašovec, THE WORLD OF DUNE AS AN ALTERNATE FUTURE WITHOUT AI
Nikola Tanasić, THEY SLAY DRAGONS, DON’T THEY? ON TAMING OF DRAGONS AND THE OBLIVION OF EVIL IN MODERN STORYTELLING
Ivan Matić, STAR WARS, FROM THE JUNGLES OF VIETNAM TO THE DESERTS OF IRAQ AND BEYOND
Isidora Novaković, THE PRINCE OF THE RINGS: CAN FILMS HELP US UNDERSTAND POLITICS?
FILM AS A TOOL OF GEOPOLITICS
Zoran Milošević, FILMS AND SERIES AS INSTRUMENTS OF GEOPOLITICS
Braco Kovačević, FILM AS SOFT POWER
Maryam Khaleghinezhad, CULTURAL PARADIPLOMACY CAPACITIES; CINEMA AND FILM: A STRATEGIC PERSPECTIVE IN CULTURAL RELATION AND CONVERGENCE; A CASE STUDY OF IRAN AND SERBIA
Miloš Jevtić, FILM AND RECONCILIATION: A CASE STUDY FROM THE REPUBLIC OF SOUTH AFRICA
Elena G. Ponomareva, Yevgeny V. Ryabinin, CINEMA AS A TOOL OF COGNITIVE WARFARE: THE CASE OF THE REPUBLIC OF SERBIA
Eduard Anatolievich Popov, “KILL THE RUSSIAN… IN YOURSELF”, IMAGES OF DONBASS, RUSSIA, AND RUSSIANS IN MODERN UKRAINIAN CINEMA
Vladimir Dubrovin, MODERN MOTION PISTURES AND TV SERIES AS TOOLS OF SOFT POWER IDEOLOGICAL ASPECTS OF FILMMAKING
IDEOLOGICAL ASPECTS OF FILMMAKING
Rustem Vahitov, ARCHAIC MOTIVES IN MODERN CINEMATOGRAPHY
Aleksandar Matković, SOCIAL DEVIATIONS AND DEVIATIONS OF SOCIALISM: CRITICAL CINEMATOGRAPHY OF THE YUGOSLAV BLACK WAVE
Andrey Baranov, FEATURE FILMS AND DOCUMENTARIES ON SOVIET HISTORY AS A MEANS OF CONSTRUCTING POLITICAL IDENTITY IN CONTEMPORARY RUSSIA
Natalya Belous, Elena Vakulina, THE FILM INDUSTRY AS A POLITICAL PERSUASION TECHNOLOGY
Nenad Petrović, THE FILM “ALEXA DUNDIĆ” AS PART OF THE POLICY OF OVERCOMING THE CONFLICT OF THE FPR OF YUGOSLAVIAAND THE USSR
Jelena Miljković Matić, ANTHROPOLOGICAL INTERPRETATION OF THE FILM “THEY LIVE”
Ivan Andreevich Ivannikov, THE POLITICAL AND IDEOLOGICAL ASPECT IN THE CINEMATOGRAPHY OF THE USSR AND THE RUSSIAN FEDERATION ON THE EXAMPLE OF FILMS ABOUT WAR POLITICAL DOCUMENTARIES AND FILMMAKING
POLITICAL DOCUMENTARIES AND FILMMAKING
Marta Nešković, Hongyun Sun, SITU ZHAODUN’S LEGACY: AN ENDURING CONTRIBUTION TO SOCIO-CULTURAL CINEMATOGRAPHY
Vladan Stanković, OLIVER STONE’S POLITICAL CINEMA
Tijana Perić Diligenski, ABUSE OF POWER THROUGH THE PRISM OF CONTEMPORARY POLITICAL CINEMA
Jelena Vujanović, THE FILM INDUSTRY AND ELECTION CAMPAIGNS
Nikola Perišić, CRITIQUE OF SLOBODAN MILOŠEVIĆ’S RULE IN SERBIAN CINEMATOGRAPHY: A CASE STUDY OF THE FILM “THE PROFESSIONAL”
Aleksandra Vučković, CINEMATIC SELF-CRITICISM AS A METHOD OF JUSTIFICATION OF CONTEMPORARY POLITICS: THE CASE OF BARBIE AND OPPENHEIMER
HISTORY THROUGHT THE LENS OF CINEMA
Hakan Yalap, SULEIMAN THE MAGNIFICENT AS A TV SERIES HERO: AN EMPEROR, A LOVER, A POET
Kirill Shevchenko, CZECH CINEMATOGRAPHY AS AN INSTRUMENT OF NAZI POLICY IN THE PROTECTORATE OF BOHEMIA AND MORAVIA IN 1939-1945
Sanja Stošić, IDENTITARY SYMBOLS AND SPANISH CINEMATIC DISCOURSE – FROM FRANCOISM TO ALMODOVARIAN CINEMA
Sonja Višnjić Žižović, THUNDEROUS SILENCE – CHRISTIANITY AT THE TIME OF PERSECUTION IN JAPAN
Matija Malešević, BETWEEN HISTORY AND DREAM: DECODING FELLINI’S “AND THE SHIP SAILS ON”
Dajana Lazarević, SCIENCE AND JOURNALISM COMBINED IN EXPOSING THE HIDDEN MESSAGES OF FILM
