Albanian Cinema through the Fall of Communism : : Silver Screens and Red Flags / / Bruce Williams.
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...
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Place / Publishing House: | Amsterdam : : Amsterdam University Press, , [2023] ©2023 |
Year of Publication: | 2023 |
Language: | English |
Series: | Eastern European screen cultures ;
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Williams, Bruce, author. aut http://id.loc.gov/vocabulary/relators/aut Albanian Cinema through the Fall of Communism : Silver Screens and Red Flags / Bruce Williams. Amsterdam : Amsterdam University Press, [2023] ©2023 1 online resource (246 p.) text txt rdacontent computer c rdamedia online resource cr rdacarrier text file PDF rda Eastern European screen cultures ; 6 Frontmatter -- Table of Contents -- Preface. A Personal Journey towards and through Albania and Its Cinema -- Acknowledgements -- Introduction -- Albania—The Context for a Little-Known Cinema -- Some words on the Balkans at large and at small -- Albania in a postcolonial context -- Additional words on the complete isolation of Albania -- The arts in Albania -- Albanian cinema and the project of this book -- Films chosen for discussion and analysis -- Structure of the book -- I. The Roots of Cinema in Albania -- The Ottoman Period, Independence, and the Fascist Occupation -- A sequel as a prequel -- The Manaki brothers -- Early filming in Albania -- Mihallaq Mone -- II. The Birth and Development of a Socialist Cinema -- Albania and the Soviet Union -- Albania and the Soviet Union -- Early Albanian newsreels and documentaries -- The training of young film professionals in Moscow and linguistic and continued cultural ties between Albania and the Soviet Union -- Sergei Yutkevich’s Luftëtari i madh i Shqipërisë Skënderbeu/ Великий воин Албании Скандербег/The Great Warrior Skanderbeg: A Soviet-Albanian coproduction -- Another level of documentary: Endri Keko -- Innovation silenced: Viktor Stratobërdha -- Innovation silenced: Viktor Stratobërdha -- Kinostudio’s first feature film: Kristaq Dhamo’s Tana -- Kristaq Dhamo: A coproduction with the Soviet Union -- III. The Flourishing of Kinostudio -- Albania’s Rapprochement with China and Albanian films during the Cultural Revolution -- Enver Hoxha on the arts in a socialist society -- Enver Hoxha on the arts in a socialist society -- Hysen Hasani’s DEBATIK: Children and vigilance -- Feature films of the early to 1960s through 1976 -- Ngadhnjim mbi vdekjen/Victory over Death (1967): Heroines of the partisan movement -- Dhimitër Anagnosti’s Duel i heshtur/Silent Duel (1967): A Cold War thriller -- Viktor Gjika’s Clear Horizons/Horizonte të hapura: A hero of the working class -- Viktor Gjika’s Rrugë të bardha/White Roads: The New Man reexplored -- Fehmi Hoshafi and Muhharem Fejzo’s Kapedani/The Captain (1972): In communist Albania, women had the last laugh -- Imagining Albania’s landscape, both bucolic and harsh -- Dhimiter Anagnosti’s Lulëkuqet mbi mure/Red Poppies on the Wall: Totalitarianism defied -- IV. A Cinema in Isolation -- Historical context of the years of isolation -- Thematic diversity of Albanian cinema in the period of isolation -- Xhanfise Keko’s children’s films -- Music and national identity -- Piro Milkani and Kujtim Çashku’s Ballë për ballë/Face to Face: Nostalgia for Soviet friendship The ensuing discussion of Piro -- Kujtim Çashku’s Dora e ngrohtë/The Warm Hand: A wayward youth redeemed -- V. Kinostudio in the Post-Hoxha Era -- Ramiz Alia’s Albania -- Late Kinostudio productions -- Adaptations of Kadare -- A stance against corruption -- Esat Musliu’s Rrethi i kujtesës/The Circle of Memory (1987): Posttraumatic stress and memory loss -- Eduard Makri’s Shpella e piratëve/The Pirate Cave (1990): Childhood and adventure -- Some Words in Conclusion -- Towards an Albanian Cinema of Postcommunism -- Esat Musliu’s Vitet e pritjes/Years of Waiting (1990): Emigration and women -- Towards the future -- Bibliography -- Filmography -- Index restricted access http://purl.org/coar/access_right/c_16ec online access with authorization star 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. Mode of access: Internet via World Wide Web. In English. Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2023) Motion pictures Albania History. Film Studies. Film, Media, and Communication. Media Studies. Politics and Government. ART / Film & Video. bisacsh Cinema, Albania, communism, post-communism, transnationalism. Title is part of eBook package: De Gruyter Amsterdam University Press Complete eBook-Package 2023 9783111023748 https://doi.org/10.1515/9789048529339?locatt=mode:legacy https://www.degruyter.com/isbn/9789048529339 Cover https://www.degruyter.com/document/cover/isbn/9789048529339/original |
language |
English |
format |
eBook |
author |
Williams, Bruce, Williams, Bruce, |
spellingShingle |
Williams, Bruce, Williams, Bruce, Albanian Cinema through the Fall of Communism : Silver Screens and Red Flags / Eastern European screen cultures ; Frontmatter -- Table of Contents -- Preface. A Personal Journey towards and through Albania and Its Cinema -- Acknowledgements -- Introduction -- Albania—The Context for a Little-Known Cinema -- Some words on the Balkans at large and at small -- Albania in a postcolonial context -- Additional words on the complete isolation of Albania -- The arts in Albania -- Albanian cinema and the project of this book -- Films chosen for discussion and analysis -- Structure of the book -- I. The Roots of Cinema in Albania -- The Ottoman Period, Independence, and the Fascist Occupation -- A sequel as a prequel -- The Manaki brothers -- Early filming in Albania -- Mihallaq Mone -- II. The Birth and Development of a Socialist Cinema -- Albania and the Soviet Union -- Early Albanian newsreels and documentaries -- The training of young film professionals in Moscow and linguistic and continued cultural ties between Albania and the Soviet Union -- Sergei Yutkevich’s Luftëtari i madh i Shqipërisë Skënderbeu/ Великий воин Албании Скандербег/The Great Warrior Skanderbeg: A Soviet-Albanian coproduction -- Another level of documentary: Endri Keko -- Innovation silenced: Viktor Stratobërdha -- Kinostudio’s first feature film: Kristaq Dhamo’s Tana -- Kristaq Dhamo: A coproduction with the Soviet Union -- III. The Flourishing of Kinostudio -- Albania’s Rapprochement with China and Albanian films during the Cultural Revolution -- Enver Hoxha on the arts in a socialist society -- Hysen Hasani’s DEBATIK: Children and vigilance -- Feature films of the early to 1960s through 1976 -- Ngadhnjim mbi vdekjen/Victory over Death (1967): Heroines of the partisan movement -- Dhimitër Anagnosti’s Duel i heshtur/Silent Duel (1967): A Cold War thriller -- Viktor Gjika’s Clear Horizons/Horizonte të hapura: A hero of the working class -- Viktor Gjika’s Rrugë të bardha/White Roads: The New Man reexplored -- Fehmi Hoshafi and Muhharem Fejzo’s Kapedani/The Captain (1972): In communist Albania, women had the last laugh -- Imagining Albania’s landscape, both bucolic and harsh -- Dhimiter Anagnosti’s Lulëkuqet mbi mure/Red Poppies on the Wall: Totalitarianism defied -- IV. A Cinema in Isolation -- Historical context of the years of isolation -- Thematic diversity of Albanian cinema in the period of isolation -- Xhanfise Keko’s children’s films -- Music and national identity -- Piro Milkani and Kujtim Çashku’s Ballë për ballë/Face to Face: Nostalgia for Soviet friendship The ensuing discussion of Piro -- Kujtim Çashku’s Dora e ngrohtë/The Warm Hand: A wayward youth redeemed -- V. Kinostudio in the Post-Hoxha Era -- Ramiz Alia’s Albania -- Late Kinostudio productions -- Adaptations of Kadare -- A stance against corruption -- Esat Musliu’s Rrethi i kujtesës/The Circle of Memory (1987): Posttraumatic stress and memory loss -- Eduard Makri’s Shpella e piratëve/The Pirate Cave (1990): Childhood and adventure -- Some Words in Conclusion -- Towards an Albanian Cinema of Postcommunism -- Esat Musliu’s Vitet e pritjes/Years of Waiting (1990): Emigration and women -- Towards the future -- Bibliography -- Filmography -- Index |
author_facet |
Williams, Bruce, Williams, Bruce, |
author_variant |
b w bw b w bw |
author_role |
VerfasserIn VerfasserIn |
author_sort |
Williams, Bruce, |
title |
Albanian Cinema through the Fall of Communism : Silver Screens and Red Flags / |
title_sub |
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_auth |
Albanian Cinema through the Fall of Communism : Silver Screens and Red Flags / |
title_alt |
Frontmatter -- Table of Contents -- Preface. A Personal Journey towards and through Albania and Its Cinema -- Acknowledgements -- Introduction -- Albania—The Context for a Little-Known Cinema -- Some words on the Balkans at large and at small -- Albania in a postcolonial context -- Additional words on the complete isolation of Albania -- The arts in Albania -- Albanian cinema and the project of this book -- Films chosen for discussion and analysis -- Structure of the book -- I. The Roots of Cinema in Albania -- The Ottoman Period, Independence, and the Fascist Occupation -- A sequel as a prequel -- The Manaki brothers -- Early filming in Albania -- Mihallaq Mone -- II. The Birth and Development of a Socialist Cinema -- Albania and the Soviet Union -- Early Albanian newsreels and documentaries -- The training of young film professionals in Moscow and linguistic and continued cultural ties between Albania and the Soviet Union -- Sergei Yutkevich’s Luftëtari i madh i Shqipërisë Skënderbeu/ Великий воин Албании Скандербег/The Great Warrior Skanderbeg: A Soviet-Albanian coproduction -- Another level of documentary: Endri Keko -- Innovation silenced: Viktor Stratobërdha -- Kinostudio’s first feature film: Kristaq Dhamo’s Tana -- Kristaq Dhamo: A coproduction with the Soviet Union -- III. The Flourishing of Kinostudio -- Albania’s Rapprochement with China and Albanian films during the Cultural Revolution -- Enver Hoxha on the arts in a socialist society -- Hysen Hasani’s DEBATIK: Children and vigilance -- Feature films of the early to 1960s through 1976 -- Ngadhnjim mbi vdekjen/Victory over Death (1967): Heroines of the partisan movement -- Dhimitër Anagnosti’s Duel i heshtur/Silent Duel (1967): A Cold War thriller -- Viktor Gjika’s Clear Horizons/Horizonte të hapura: A hero of the working class -- Viktor Gjika’s Rrugë të bardha/White Roads: The New Man reexplored -- Fehmi Hoshafi and Muhharem Fejzo’s Kapedani/The Captain (1972): In communist Albania, women had the last laugh -- Imagining Albania’s landscape, both bucolic and harsh -- Dhimiter Anagnosti’s Lulëkuqet mbi mure/Red Poppies on the Wall: Totalitarianism defied -- IV. A Cinema in Isolation -- Historical context of the years of isolation -- Thematic diversity of Albanian cinema in the period of isolation -- Xhanfise Keko’s children’s films -- Music and national identity -- Piro Milkani and Kujtim Çashku’s Ballë për ballë/Face to Face: Nostalgia for Soviet friendship The ensuing discussion of Piro -- Kujtim Çashku’s Dora e ngrohtë/The Warm Hand: A wayward youth redeemed -- V. Kinostudio in the Post-Hoxha Era -- Ramiz Alia’s Albania -- Late Kinostudio productions -- Adaptations of Kadare -- A stance against corruption -- Esat Musliu’s Rrethi i kujtesës/The Circle of Memory (1987): Posttraumatic stress and memory loss -- Eduard Makri’s Shpella e piratëve/The Pirate Cave (1990): Childhood and adventure -- Some Words in Conclusion -- Towards an Albanian Cinema of Postcommunism -- Esat Musliu’s Vitet e pritjes/Years of Waiting (1990): Emigration and women -- Towards the future -- Bibliography -- Filmography -- Index |
title_new |
Albanian Cinema through the Fall of Communism : |
title_sort |
albanian cinema through the fall of communism : silver screens and red flags / |
series |
Eastern European screen cultures ; |
series2 |
Eastern European screen cultures ; |
publisher |
Amsterdam University Press, |
publishDate |
2023 |
physical |
1 online resource (246 p.) |
contents |
Frontmatter -- Table of Contents -- Preface. A Personal Journey towards and through Albania and Its Cinema -- Acknowledgements -- Introduction -- Albania—The Context for a Little-Known Cinema -- Some words on the Balkans at large and at small -- Albania in a postcolonial context -- Additional words on the complete isolation of Albania -- The arts in Albania -- Albanian cinema and the project of this book -- Films chosen for discussion and analysis -- Structure of the book -- I. The Roots of Cinema in Albania -- The Ottoman Period, Independence, and the Fascist Occupation -- A sequel as a prequel -- The Manaki brothers -- Early filming in Albania -- Mihallaq Mone -- II. The Birth and Development of a Socialist Cinema -- Albania and the Soviet Union -- Early Albanian newsreels and documentaries -- The training of young film professionals in Moscow and linguistic and continued cultural ties between Albania and the Soviet Union -- Sergei Yutkevich’s Luftëtari i madh i Shqipërisë Skënderbeu/ Великий воин Албании Скандербег/The Great Warrior Skanderbeg: A Soviet-Albanian coproduction -- Another level of documentary: Endri Keko -- Innovation silenced: Viktor Stratobërdha -- Kinostudio’s first feature film: Kristaq Dhamo’s Tana -- Kristaq Dhamo: A coproduction with the Soviet Union -- III. The Flourishing of Kinostudio -- Albania’s Rapprochement with China and Albanian films during the Cultural Revolution -- Enver Hoxha on the arts in a socialist society -- Hysen Hasani’s DEBATIK: Children and vigilance -- Feature films of the early to 1960s through 1976 -- Ngadhnjim mbi vdekjen/Victory over Death (1967): Heroines of the partisan movement -- Dhimitër Anagnosti’s Duel i heshtur/Silent Duel (1967): A Cold War thriller -- Viktor Gjika’s Clear Horizons/Horizonte të hapura: A hero of the working class -- Viktor Gjika’s Rrugë të bardha/White Roads: The New Man reexplored -- Fehmi Hoshafi and Muhharem Fejzo’s Kapedani/The Captain (1972): In communist Albania, women had the last laugh -- Imagining Albania’s landscape, both bucolic and harsh -- Dhimiter Anagnosti’s Lulëkuqet mbi mure/Red Poppies on the Wall: Totalitarianism defied -- IV. A Cinema in Isolation -- Historical context of the years of isolation -- Thematic diversity of Albanian cinema in the period of isolation -- Xhanfise Keko’s children’s films -- Music and national identity -- Piro Milkani and Kujtim Çashku’s Ballë për ballë/Face to Face: Nostalgia for Soviet friendship The ensuing discussion of Piro -- Kujtim Çashku’s Dora e ngrohtë/The Warm Hand: A wayward youth redeemed -- V. Kinostudio in the Post-Hoxha Era -- Ramiz Alia’s Albania -- Late Kinostudio productions -- Adaptations of Kadare -- A stance against corruption -- Esat Musliu’s Rrethi i kujtesës/The Circle of Memory (1987): Posttraumatic stress and memory loss -- Eduard Makri’s Shpella e piratëve/The Pirate Cave (1990): Childhood and adventure -- Some Words in Conclusion -- Towards an Albanian Cinema of Postcommunism -- Esat Musliu’s Vitet e pritjes/Years of Waiting (1990): Emigration and women -- Towards the future -- Bibliography -- Filmography -- Index |
isbn |
9789048529339 9783111023748 |
callnumber-first |
P - Language and Literature |
callnumber-subject |
PN - General Literature |
callnumber-label |
PN1993 |
callnumber-sort |
PN 41993.5 A39 W55 42023 |
geographic_facet |
Albania |
url |
https://doi.org/10.1515/9789048529339?locatt=mode:legacy https://www.degruyter.com/isbn/9789048529339 https://www.degruyter.com/document/cover/isbn/9789048529339/original |
illustrated |
Not Illustrated |
dewey-hundreds |
700 - Arts & recreation |
dewey-tens |
790 - Sports, games & entertainment |
dewey-ones |
791 - Public performances |
dewey-full |
791.43094965 |
dewey-sort |
3791.43094965 |
dewey-raw |
791.43094965 |
dewey-search |
791.43094965 |
doi_str_mv |
10.1515/9789048529339?locatt=mode:legacy |
work_keys_str_mv |
AT williamsbruce albaniancinemathroughthefallofcommunismsilverscreensandredflags |
status_str |
n |
ids_txt_mv |
(DE-B1597)664849 |
carrierType_str_mv |
cr |
hierarchy_parent_title |
Title is part of eBook package: De Gruyter Amsterdam University Press Complete eBook-Package 2023 |
is_hierarchy_title |
Albanian Cinema through the Fall of Communism : Silver Screens and Red Flags / |
container_title |
Title is part of eBook package: De Gruyter Amsterdam University Press Complete eBook-Package 2023 |
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1789654376556527616 |
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A Personal Journey towards and through Albania and Its Cinema -- </subfield><subfield code="t">Acknowledgements -- </subfield><subfield code="t">Introduction -- </subfield><subfield code="t">Albania—The Context for a Little-Known Cinema -- </subfield><subfield code="t">Some words on the Balkans at large and at small -- </subfield><subfield code="t">Albania in a postcolonial context -- </subfield><subfield code="t">Additional words on the complete isolation of Albania -- </subfield><subfield code="t">The arts in Albania -- </subfield><subfield code="t">Albanian cinema and the project of this book -- </subfield><subfield code="t">Films chosen for discussion and analysis -- </subfield><subfield code="t">Structure of the book -- </subfield><subfield code="t">I. The Roots of Cinema in Albania -- </subfield><subfield code="t">The Ottoman Period, Independence, and the Fascist Occupation -- </subfield><subfield code="t">A sequel as a prequel -- </subfield><subfield code="t">The Manaki brothers -- </subfield><subfield code="t">Early filming in Albania -- </subfield><subfield code="t">Mihallaq Mone -- </subfield><subfield code="t">II. The Birth and Development of a Socialist Cinema -- </subfield><subfield code="t">Albania and the Soviet Union -- </subfield><subfield code="t">Albania and the Soviet Union -- </subfield><subfield code="t">Early Albanian newsreels and documentaries -- </subfield><subfield code="t">The training of young film professionals in Moscow and linguistic and continued cultural ties between Albania and the Soviet Union -- </subfield><subfield code="t">Sergei Yutkevich’s Luftëtari i madh i Shqipërisë Skënderbeu/ Великий воин Албании Скандербег/The Great Warrior Skanderbeg: A Soviet-Albanian coproduction -- </subfield><subfield code="t">Another level of documentary: Endri Keko -- </subfield><subfield code="t">Innovation silenced: Viktor Stratobërdha -- </subfield><subfield code="t">Innovation silenced: Viktor Stratobërdha -- </subfield><subfield code="t">Kinostudio’s first feature film: Kristaq Dhamo’s Tana -- </subfield><subfield code="t">Kristaq Dhamo: A coproduction with the Soviet Union -- </subfield><subfield code="t">III. The Flourishing of Kinostudio -- </subfield><subfield code="t">Albania’s Rapprochement with China and Albanian films during the Cultural Revolution -- </subfield><subfield code="t">Enver Hoxha on the arts in a socialist society -- </subfield><subfield code="t">Enver Hoxha on the arts in a socialist society -- </subfield><subfield code="t">Hysen Hasani’s DEBATIK: Children and vigilance -- </subfield><subfield code="t">Feature films of the early to 1960s through 1976 -- </subfield><subfield code="t">Ngadhnjim mbi vdekjen/Victory over Death (1967): Heroines of the partisan movement -- </subfield><subfield code="t">Dhimitër Anagnosti’s Duel i heshtur/Silent Duel (1967): A Cold War thriller -- </subfield><subfield code="t">Viktor Gjika’s Clear Horizons/Horizonte të hapura: A hero of the working class -- </subfield><subfield code="t">Viktor Gjika’s Rrugë të bardha/White Roads: The New Man reexplored -- </subfield><subfield code="t">Fehmi Hoshafi and Muhharem Fejzo’s Kapedani/The Captain (1972): In communist Albania, women had the last laugh -- </subfield><subfield code="t">Imagining Albania’s landscape, both bucolic and harsh -- </subfield><subfield code="t">Dhimiter Anagnosti’s Lulëkuqet mbi mure/Red Poppies on the Wall: Totalitarianism defied -- </subfield><subfield code="t">IV. A Cinema in Isolation -- </subfield><subfield code="t">Historical context of the years of isolation -- </subfield><subfield code="t">Thematic diversity of Albanian cinema in the period of isolation -- </subfield><subfield code="t">Xhanfise Keko’s children’s films -- </subfield><subfield code="t">Music and national identity -- </subfield><subfield code="t">Piro Milkani and Kujtim Çashku’s Ballë për ballë/Face to Face: Nostalgia for Soviet friendship The ensuing discussion of Piro -- </subfield><subfield code="t">Kujtim Çashku’s Dora e ngrohtë/The Warm Hand: A wayward youth redeemed -- </subfield><subfield code="t">V. Kinostudio in the Post-Hoxha Era -- </subfield><subfield code="t">Ramiz Alia’s Albania -- </subfield><subfield code="t">Late Kinostudio productions -- </subfield><subfield code="t">Adaptations of Kadare -- </subfield><subfield code="t">A stance against corruption -- </subfield><subfield code="t">Esat Musliu’s Rrethi i kujtesës/The Circle of Memory (1987): Posttraumatic stress and memory loss -- </subfield><subfield code="t">Eduard Makri’s Shpella e piratëve/The Pirate Cave (1990): Childhood and adventure -- </subfield><subfield code="t">Some Words in Conclusion -- </subfield><subfield code="t">Towards an Albanian Cinema of Postcommunism -- </subfield><subfield code="t">Esat Musliu’s Vitet e pritjes/Years of Waiting (1990): Emigration and women -- </subfield><subfield code="t">Towards the future -- </subfield><subfield code="t">Bibliography -- </subfield><subfield code="t">Filmography -- </subfield><subfield code="t">Index</subfield></datafield><datafield tag="506" ind1="0" ind2=" "><subfield code="a">restricted access</subfield><subfield code="u">http://purl.org/coar/access_right/c_16ec</subfield><subfield code="f">online access with authorization</subfield><subfield code="2">star</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="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.</subfield></datafield><datafield tag="538" ind1=" " ind2=" "><subfield code="a">Mode of access: Internet via World Wide Web.</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In English.</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2023)</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Motion pictures</subfield><subfield code="z">Albania</subfield><subfield code="x">History.</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Film Studies.</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Film, Media, and Communication.</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Media Studies.</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Politics and Government.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">ART / Film & Video.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="653" ind1=" " ind2=" "><subfield code="a">Cinema, Albania, communism, post-communism, transnationalism.</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="i">Title is part of eBook package:</subfield><subfield code="d">De Gruyter</subfield><subfield code="t">Amsterdam University Press Complete eBook-Package 2023</subfield><subfield code="z">9783111023748</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/9789048529339?locatt=mode:legacy</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://www.degruyter.com/isbn/9789048529339</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="3">Cover</subfield><subfield code="u">https://www.degruyter.com/document/cover/isbn/9789048529339/original</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">978-3-11-102374-8 Amsterdam University Press Complete eBook-Package 2023</subfield><subfield code="b">2023</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_CL_MUAR</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_EBKALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_ECL_MUAR</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_EEBKALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_ESSHALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_PPALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_SSHALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV-deGruyter-alles</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">PDA11SSHE</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">PDA13ENGE</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">PDA17SSHEE</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">PDA5EBK</subfield></datafield></record></collection> |