Albanian Cinema through the Fall of Communism: Silver Screens and Red Flags
Albanian cinema truly represents a terra incognita for most of the world. Decidedly Europe's most isolated country during the Cold War era, communist Albania had already been cut off from the West for centuries as a one of the western-most outposts of the Ottoman empire. Nonetheless, and unknow...
Saved in:
| Main Author: | |
|---|---|
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Amsterdam
Amsterdam University Press
[2023]
|
| Series: | Eastern European screen cultures
6 |
| Subjects: | |
| Online Access: | DE-12 DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-473 DE-739 Volltext |
| Summary: | Albanian cinema truly represents a terra incognita for most of the world. Decidedly Europe's most isolated country during the Cold War era, communist Albania had already been cut off from the West for centuries as a one of the western-most outposts of the Ottoman empire. Nonetheless, and unknown to most of the world, communist Albania had a vibrant cinema tradition. Although bound by official orthodoxy, the films of the state-run Kinostudio enterprise were surprisingly innovative and, at times, daringly subversive. This book opens with examinations of moving images in Albania from the Ottoman period, through those captured under independence and the Fascist occupation. It subsequently foregrounds transformations in Kinostudio, from the early optimism of socialist realism through the brooding social angst of the 1980s, which constitute a bridge to the socioeconomic concerns of Albanian films of the postcommunist period |
| Item Description: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2023) |
| Physical Description: | 1 Online-Ressource (246 Seiten) |
| ISBN: | 9789048529339 |
| DOI: | 10.1515/9789048529339 |
Staff View
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| 520 | |a Albanian cinema truly represents a terra incognita for most of the world. Decidedly Europe's most isolated country during the Cold War era, communist Albania had already been cut off from the West for centuries as a one of the western-most outposts of the Ottoman empire. Nonetheless, and unknown to most of the world, communist Albania had a vibrant cinema tradition. Although bound by official orthodoxy, the films of the state-run Kinostudio enterprise were surprisingly innovative and, at times, daringly subversive. This book opens with examinations of moving images in Albania from the Ottoman period, through those captured under independence and the Fascist occupation. It subsequently foregrounds transformations in Kinostudio, from the early optimism of socialist realism through the brooding social angst of the 1980s, which constitute a bridge to the socioeconomic concerns of Albanian films of the postcommunist period | ||
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| isbn | 9789048529339 |
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| spelling | Williams, Bruce Verfasser aut Albanian Cinema through the Fall of Communism Silver Screens and Red Flags Bruce Williams Amsterdam Amsterdam University Press [2023] © 2023 1 Online-Ressource (246 Seiten) txt rdacontent c rdamedia cr rdacarrier Eastern European screen cultures 6 Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2023) Albanian cinema truly represents a terra incognita for most of the world. Decidedly Europe's most isolated country during the Cold War era, communist Albania had already been cut off from the West for centuries as a one of the western-most outposts of the Ottoman empire. Nonetheless, and unknown to most of the world, communist Albania had a vibrant cinema tradition. Although bound by official orthodoxy, the films of the state-run Kinostudio enterprise were surprisingly innovative and, at times, daringly subversive. This book opens with examinations of moving images in Albania from the Ottoman period, through those captured under independence and the Fascist occupation. It subsequently foregrounds transformations in Kinostudio, from the early optimism of socialist realism through the brooding social angst of the 1980s, which constitute a bridge to the socioeconomic concerns of Albanian films of the postcommunist period In English Film Studies Film, Media, and Communication Media Studies Politics and Government ART / Film & Video bisacsh Motion pictures Albania History https://doi.org/10.1515/9789048529339?locatt=mode:legacy Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Williams, Bruce Albanian Cinema through the Fall of Communism Silver Screens and Red Flags Film Studies Film, Media, and Communication Media Studies Politics and Government ART / Film & Video bisacsh Motion pictures Albania History |
| title | Albanian Cinema through the Fall of Communism Silver Screens and Red Flags |
| title_auth | Albanian Cinema through the Fall of Communism Silver Screens and Red Flags |
| title_exact_search | Albanian Cinema through the Fall of Communism Silver Screens and Red Flags |
| title_exact_search_txtP | Albanian Cinema through the Fall of Communism Silver Screens and Red Flags |
| title_full | Albanian Cinema through the Fall of Communism Silver Screens and Red Flags Bruce Williams |
| title_fullStr | Albanian Cinema through the Fall of Communism Silver Screens and Red Flags Bruce Williams |
| title_full_unstemmed | Albanian Cinema through the Fall of Communism Silver Screens and Red Flags Bruce Williams |
| title_short | Albanian Cinema through the Fall of Communism |
| title_sort | albanian cinema through the fall of communism silver screens and red flags |
| title_sub | Silver Screens and Red Flags |
| topic | Film Studies Film, Media, and Communication Media Studies Politics and Government ART / Film & Video bisacsh Motion pictures Albania History |
| topic_facet | Film Studies Film, Media, and Communication Media Studies Politics and Government ART / Film & Video Motion pictures Albania History |
| url | https://doi.org/10.1515/9789048529339?locatt=mode:legacy |
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