Nalazite se na CroRIS probnoj okolini. Ovdje evidentirani podaci neće biti pohranjeni u Informacijskom sustavu znanosti RH. Ako je ovo greška, CroRIS produkcijskoj okolini moguće je pristupi putem poveznice www.croris.hr
izvor podataka: crosbi !

The Representation of Minorities in Contemporary Croatian Film (CROSBI ID 242835)

Prilog u časopisu | izvorni znanstveni rad

Lučić, Krunoslav The Representation of Minorities in Contemporary Croatian Film // Umjetnost riječi, LX (2016), 3-4; 231-260

Podaci o odgovornosti

Lučić, Krunoslav

engleski

The Representation of Minorities in Contemporary Croatian Film

This paper focuses on the cultural stereotypes and various ethnic and sexual minorities in Croatian narrative film since 1990. Because 1990 marks a crucial break in the history of the Croatian cultural identity and the ethnicities of former Yugoslavia, the representation of minorities in the context of war and the postwar setting is an important indicator of transformation in the new society, and a gauge for observing its confrontation with a conflicted national heritage. The principal thesis establishes that the new society attempts to articulate its own identity through filmic representation, by negotiating diverse minority identities, which it ultimately conceives as a threat and a non-essential component, unable to be incorporated in the new social order. However, through exploring themes that were silenced prior to 2000, contemporary films give minorities a new voice and a strong visual path to recognition, which goes far beyond the previous stereotyped portrayals. In the period since 1990, a range of Croatian films has dealt with primarily ethnic/national minorities. Two trends are visible in this regard: an ethnic minority (particularly Serbian) that struggles for recognition in the context of war (e.g. in Vinko Brešan’s 2003 film Witnesses) or other ethnic minorities in the postwar context (e.g. an Asian child in Ognjen Sviličić’s 2004 film Sorry for Kung Fu). These two aspects often entwine, like in the film Fine Dead Girls (2002) by Dalibor Matanić, where a lesbian couple fights for recognition in a postwar Zagreb saturated with intolerance and war trauma.

contemporary Croatian film, 1990s–2000s, minority figures (ethnic/national/sexual/racial/cultural), ideology, stereotypes, war trauma, representational procedures, acculturation

nije evidentirano

nije evidentirano

nije evidentirano

nije evidentirano

nije evidentirano

nije evidentirano

Podaci o izdanju

LX (3-4)

2016.

231-260

objavljeno

0503-1583

Povezanost rada

Znanost o umjetnosti