The book gathers 21 studies by researchers and academics from eight countries (Bulgaria, Canada, Georgia, Kazakhstan, North Macedonia, UK, Romania and Serbia) that analyze the evolution of cinema in the former communist countries, identifying both common models and specific phenomena. The studies were presented at the conference of the same name, which took place in Velingrad (Bulgaria) between 2 and 5 November 2018 – an event otganized by the Institute of Art Studies in Sofia. Among the contributors is Marian Țuțui (“G. Oprescu” Institute of Art History), author of the paper 30 years of post-communist cinema in Romania divided into four periods.
CONTENTS
Transition, Crisis, Identities, Typologies
Bulgarian film 1988-2018: crossing borders, conquering territories
Ingeborg Bratoeva-Daraktchieva
Rethinking national identity crises in Bulgarian animation: the new generations
Nadezhda Marinchevska
The national film transition period in Georgia (1991-2000)
viad Dolidze
30 years of post-communist cinema in Romania divided into four periods
Marian Tutui
Identity dialogues: an approach towards the theoretical framework in the aspects of modern Bulgarian film
Andronika Martonova
On the typology of self-financed Bulgarian feature films after 1990
Alexander Donev
Macedonian film after the fall of communism
Atanas Chuposki
Considering the crisis in Bulgarian film of the decade after the fall of the totalitarian regime
Alexander Staykov
Toponyms, Migration, Gender
The Balkans’ Europolis: Sulina as synecdoche
Alex Forbes
Migration of young people in Serbian cinema: go, stay, or come back?
Radenko Rankovic
Subjectivity and the female double
Christina Stojanova
Transition in Serbian film industry in the example of female producers and directors
Ana Daleore
Documentaries, Authors, Interpretations
Post-totalitarian documentary film: the period as viewed by directors
Aibarsha Bozheyeva
Auteur interpretations in documentaries
Teodora Doncheva
ival artifact in Eastern European documentary as locus of recollection
Raluca lacob.
Visuality, Poetics, Experiments, Audiences
The specific national poetics and new archetypes in the post-totalitarian Bulgarian film
Elitza Gotzeva
Bulgarian feature short film adaptations in the twenty-first century
Petia Alexandrova
Visual solutions to Kazakh and Eastern European post-socialist films (1989-2018
Snezhana Baimukhanova
Borders of new Bulgarian experimental film
Iosif Astrukov
Fragments of Bulgarian cinema for children. Aesthetics and communication
Radostina Neykova
(Bulgarian) film criticism in a constant state of transition
Rosen Spasov.
