Emir Kusturica

Emir Kusturica

Giorgio Bertellini
Copyright Date: 2015
Pages: 192
https://www.jstor.org/stable/10.5406/j.ctt6wr68h
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  • Book Info
    Emir Kusturica
    Book Description:

    Emir Kusturica is one of Eastern Europe's most celebrated and influential filmmakers. Over the course of a thirty-year career, Kusturica has navigated a series of geopolitical fault lines to produce subversive, playful, often satiric works. On the way he won acclaim and widespread popularity while showing a genius for adjusting his poetic pitch--shifting from romantic realist to controversial satirist to sentimental jester. Leading scholar-critic Giorgio Bertellini divides Kusturica's career into three stages--dissention, disconnection, and dissonance--to reflect both the historic and cultural changes going on around him and the changes his cinema has undergone. He uses Kusturica's Palme d'Or winning Underground (1995)--the famously inflammatory take on Yugoslav history after World War II--as the pivot between the tone of romantic, yet pungent critique of the director's early works and later journeys into Balkanist farce marked by slapstick and a self-conscious primitivism. Eschewing the one-sided polemics Kusturica's work often provokes, Bertellini employs balanced discussion and critical analysis to offer a fascinating and up-to-date consideration of a major figure in world cinema.

    eISBN: 978-0-252-09685-3
    Subjects: History, Film Studies

Table of Contents

  1. Front Matter
    (pp. i-viii)
  2. Table of Contents
    (pp. ix-x)
  3. Acknowledgments
    (pp. xi-xvi)
  4. The Art of a Romantic Trickster
    (pp. 1-150)

    The end of the cold war and of the dichotomous framework of East versus West radically altered the geopolitical landscape of Europe. This change resonated vigorously east of the Iron Curtain. Facing enormous institutional and civic challenges, former Communist regimes began to transition to democratic and quasi-democratic statehood, while cultural productions, including art and popular cinema, had to articulate new categories of aesthetic legitimacy and relevance.

    Before 1989, several Eastern European filmmakers had gained fame and appreciation at home, abroad, and then back again at home, in the context of what in the West were known as New Waves. The...

  5. Interviews with Emir Kusturica: A Montage
    (pp. 151-156)

    What follows is a series of excerpts, organized by theme, from selected published interviews with Emir Kusturica. Unless otherwise noted, all translations are my own.

    On weekends [while growing up] I used to work to make some money. The job consisted in bringing coal to heat up the cinematheque. Often, when the job was done, the director would allow us in for free. One of the first films I saw was Visconti’sSenso.I did not understand a thing about it, but I realized that something important and unusual was happening onscreen. Some time later, another film shocked me: Fellini’s...

  6. Filmography
    (pp. 157-166)
  7. Bibliography
    (pp. 167-176)
  8. Index
    (pp. 177-180)
  9. Back Matter
    (pp. 181-184)