Nevena Dakovic | University of the Arts in Belgrade (original) (raw)
Papers by Nevena Dakovic
Amsterdam University Press eBooks, 2022
The aim of this paper is to map manifold notions of migrant cinema and its history, in other word... more The aim of this paper is to map manifold notions of migrant cinema and its history, in other words, film narratives about migrations from, across, and to the Balkans. The analysis looks at broader Balkan cinema that features as the context for focusing the changes of the migration pattern from and to Belgrade. The paper takes Practical Guide to Belgrade with Singing and Crying (Praktičan vodič kroz Beograd sa pevanjem i plakanjem, Bojan Vuletić, 2011) as its case study to show the recent reversal of migrant narratives in which the Balkans are the desired destination, in itself an exception to the rule. The analyses are based on the appropriated definition of migrant cinema and complemented with notions of inner exile and accented cinema.
The aim of this paper is to map manifold notions of migrant cinema and its history, in other word... more The aim of this paper is to map manifold notions of migrant cinema and its history, in other words, film narratives about migrations from, across, and to the Balkans. The analysis looks at broader Balkan cinema that features as the context for focusing the changes of the migration pattern from and to Belgrade. The paper takes Practical Guide to Belgrade with Singing and Crying (Praktičan vodič kroz Beograd sa pevanjem i plakanjem, Bojan Vuletić, 2011) as its case study to show the recent reversal of migrant narratives in which the Balkans are the desired destination, in itself an exception to the rule. The analyses are based on the appropriated definition of migrant cinema and complemented with notions of inner exile and accented cinema.
Amsterdam University Press eBooks, Feb 15, 2022
Routledge eBooks, Jan 24, 2022
Images, Dec 22, 2018
The aim of this paper is to analyse the shift of the representational and narrative paradigms of ... more The aim of this paper is to analyse the shift of the representational and narrative paradigms of Holocaust memory in the Balkan films that belong to two genres-of melodrama and historical fiction. The hybrid format positons the Holocaust (hi)stories-already caught between forgetting and remembrance-on the unstable ground between trauma and nostalgia; between history and memory; or facts and fiction. The "regained visibility of the Holocaust grant us access" to Balkan past and present and oblige us to investigate the convergence of the history and the memory into Holocaust master narrative of the Holocaust. "Bringing the dark past to light" in cinema has manifold effect. First, the Balkan wave of Holocaust films, with its mixed generic performances, offers new answers to the traditional issues of, both, the ethics of memory and the ethics of representation. Second, the analysis of five films reveals that the trauma from the past-resisting the closure-has the potential to powerfully resonate in the present day political crises. Redressing the trauma of the past, the films present the future violence while fulfilling "the Holocaust dictum 'never forget'". Eventually, new representational paradigm gives consistency to the Balkan (hi)stories of the past and coherence to the identity in the present.
Zbornik Radova Akademije Umetnosti, 2022
Cilj rada je da mapira preobražaj istorijske i kulturne traume-"kada je ceo jedan grad završio po... more Cilj rada je da mapira preobražaj istorijske i kulturne traume-"kada je ceo jedan grad završio pod ledom"-i njima vraćena kolektivna sećanja grada u transnacionalno sećanje i narative apsolutnih žrtvi, te da ga pokaže kroz analizu filmova Hladni dani (Hideg Napok, 1966, Andraš Kovač [András Kovács], Mađarska) i Spomenik (1967, Miroslav Antić, SFRJ). Njihovi komplementarni narativi o Novosadskoj raciji, ispripovedani iz različitih nacionalnih perspektiva, suprotstavljenih optika žrtvi i počinilaca, sa tačke posmatranja generacija i postgeneracija (a potonjima pripada i autorka ovog teksta), zajedno sa naslovima koji samo dodiruju temu poput Jevreji dolaze (Prvoslav Marić, 1991, SFRJ) i Peščanik (Sabolč Tolnaj [Szabolcs Tolnai], 2007, SFRJ), postaju, istovremeno, prostori upisa zamršene dijalektike etnicizacije i deetnicizacije sećanja i kulturni okvir koji oblikuje slike prošlosti i tumačenja istorije. U istom ključu rad koristi tri teorijska interpretativna okvira-"nasilja kao tvorbene sile na Balkanu" (Maks Bergholc [Max Bergholz], 2016); transnacionalnog sećanja i apsolutnih žrtvi, i "sećanja i saučesništva" (Debarati Sanjal [Debarati Sanyal], 2015)-koji otvaraju nova čitanja prošlosti i pisanja istorije u filmovima, a u skladu sa savremenim političkim kontekstom. Pomenuta deetnicizacija u radu se prepoznaje kao promena "etničkog" u "etičkog", igrom reči označena kao kao et/n/ička, i time povezana sa iskonskim pitanjem identiteta i odnosa identiteta i sećanja. Istovremeno, oblikovanje sećanja pojedinca i sećanja različitih socijalnih grupa kojima on/ona pripada u kolektivno sećanje svedoči o tome kako je potonje "postalo snažni simbol brojnih političkih i društvenih tranzicija" koje zahtevaju da se pojedinac, iznova, (re)pozicionira u društvu.
John Benjamins Publishing Company eBooks, 2010
Kultura, 2021
The paper explores the soft power of the Serbian TV series produced in the period 2015-2021-as fo... more The paper explores the soft power of the Serbian TV series produced in the period 2015-2021-as focused on the in depth analysis of the TV series Senke nad Balkanom (Black Sun/Shadows over the Balkans, 2017, Dragan Bjelogrlić)-and their role in the domains of cultural diplomacy and international relations of Republic of Serbia. The research uses the methods of the qualitative (textual, narrative, genre) and quantitative (the financial success in terms of distribution, placement at the festivals, promotions on the social webs) analysis. The aim of this paper is to map out-reading the thematically and generically diverse case studies of multilayered narrative complexity-the emerging patterns of the soft power analysis of TV series and their importance and value for the national cultural policy and diplomacy. Consequently, the multifaceted narrative of the Shadows over the Balkans becomes the story of the past and the present; cultural and political tensions; opposed parties and conflicting identities in the country and in the region. At the same time the TV series creates the image of Serbia-process of 'branding the nation and the state'-aimed for and turned toward the world, but not necessarily made in accordance with the state priorities and strategies. Regional and global reactions and critical response to the Shadows over the Balkans, its international placement, distribution and promotion argue the skilful change of the global into the local phenomenon (global exploitation and the growing soft power) as well as the successfully achieved mission of the cultural diplomacy-have appropriated identity and enhanced visibility of the country and of the nation.
Amsterdam University Press eBooks, Dec 31, 2022
A comparative history of literatures in European languages, 2010
AM Journal of Art and Media Studies
This paper traces the past of the Media Studies through mapping out the paradigmatic development ... more This paper traces the past of the Media Studies through mapping out the paradigmatic development of Film Studies - from theory to studies. It emphasises the threefold expansion of the analytical domain and discipline eventually sketching out the broadly (un)defined interdisciplinary and multimedia domain of the future.
Contemporary Balkan Cinema, 2020
Contemporary European Cinema, 2018
The article deals with the overview of contemporary film production in Serbia. The author states ... more The article deals with the overview of contemporary film production in Serbia. The author states that there are four types of film production in Serbia: the European co productions/europuddling and Euroimage stories ; the no budget (experimental and buddy-buddy movies) ; mainstream or A production movies ; and commercial quickies. The funding background of these movies is divided between the Ministry (firm criteria), the City (loose criteria), technical participation of RTV (Radio-Television of Serbia) and Euroimage. Different sources of funding are reflected in the choice of topics that particular funder chooses. The firm but rather controversial selection criteria of the Ministry resulted in the fact that no feature film was funded in the year 2004 and 2005. The funding for script development resulted in support of mainly urban ‘ middle European’ topics, while films that were funded by the Euroimage preferred Balkan exotic at its best. In this rather difficult situation of the fil...
Lipar, 2021
À travers une perspective multidisciplinaire, basée sur les connaissances historiques et pointant... more À travers une perspective multidisciplinaire, basée sur les connaissances historiques et pointant vers de nouvelles recherches sur le patrimoine culturel et historique des Juifs de Belgrade et de Paris, il s’agit de souligner les similitudes et les différences dans l’existence, la préservation et la présentation du patrimoine juif dans deux environnements géographiquement éloignés, historiquement et socialement différents. L’objectif est de tenir compte du contexte historique, culturel et artistique du patrimoine culturel juif historique et la question inextricablement liée de l’Holocauste. L’article cherche à lancer une discussion sur le Bataclan, le quartier juif de Paris, et Dorcol, une partie de Belgrade où les noms de rue témoignent de la vie de la communauté juive. Le but de l’article n’est pas seulement de comparer et de souligner le lien, mais aussi de promouvoir la diversité du patrimoine culturel de la France et de la Serbie.
Contemporary Balkan Cinema, 2020
The chapter on Serbia examines the significance of the new opportunities for Serbian cinema offer... more The chapter on Serbia examines the significance of the new opportunities for Serbian cinema offered by the country’s inclusion in the Eurimages and MEDIA programs and identifies major turning points and thematic markers within recent Serbian films. It analyses several distinct facets of recent cinematic developments: the emergence of a new wave of young directors whose films contain innovative cinematic and social perspectives; the rise in popular historical genre films supporting nationalist values; and the abundance of commercial – but often unpopular - filmmaking, marked by repetitive genre formulas and stereotypical themes.
Zbornik Radova Akademije Umetnosti, 2015
Fakultet dramskih umetnosti Katedra za teoriju i istoriju Saga o Beloj kući Velika načela ne išče... more Fakultet dramskih umetnosti Katedra za teoriju i istoriju Saga o Beloj kući Velika načela ne iščezavaju kada jedanput izađu na svetlo dana. Ona su tu: samo morate ponovo da ih ugledate. (Gospodin Smit u Senatu, 1939) Apstrakt. Frenk Kapra je iskazao zahvalnost za ostvareni imigrantski san, stvorivši sjajni filmski mit o američkom političkom sistemu kao "imanentno dobrom" kada je u rukama časnih i poštenih. Njegove "moralne bajke", "fantazije dobre volje", prepune vere u obnovu starih-novih principa, tvore složeni odraz idealizovanog amerikanizma tridesetih godina prošlog veka koji je postao temelj reprezentacija američkog političkog sistema. Capraesque narativ-"kao mešavina optimizma, humora, patriotizma, a za one koje zaista razumeju njegov rad (i) mraka, očaja i potrebe da se borite za stvari do kojih vam je stalo..." (Bassinger, 1982: 48)-satkana od sveameričkih vrednosti, figura običnih ljudi, 1 istorijskih likova, mita demokratije produžava se beskrajnom mrežom intertekstualnih tragova u filmskoj i TV-produkciji. Praćenje linija razvoja-kroz političku melodramu, melodramsku politiku i političku sapunicu-vodi od Kapre do serija Zapadno krilo
Amsterdam University Press eBooks, 2022
The aim of this paper is to map manifold notions of migrant cinema and its history, in other word... more The aim of this paper is to map manifold notions of migrant cinema and its history, in other words, film narratives about migrations from, across, and to the Balkans. The analysis looks at broader Balkan cinema that features as the context for focusing the changes of the migration pattern from and to Belgrade. The paper takes Practical Guide to Belgrade with Singing and Crying (Praktičan vodič kroz Beograd sa pevanjem i plakanjem, Bojan Vuletić, 2011) as its case study to show the recent reversal of migrant narratives in which the Balkans are the desired destination, in itself an exception to the rule. The analyses are based on the appropriated definition of migrant cinema and complemented with notions of inner exile and accented cinema.
The aim of this paper is to map manifold notions of migrant cinema and its history, in other word... more The aim of this paper is to map manifold notions of migrant cinema and its history, in other words, film narratives about migrations from, across, and to the Balkans. The analysis looks at broader Balkan cinema that features as the context for focusing the changes of the migration pattern from and to Belgrade. The paper takes Practical Guide to Belgrade with Singing and Crying (Praktičan vodič kroz Beograd sa pevanjem i plakanjem, Bojan Vuletić, 2011) as its case study to show the recent reversal of migrant narratives in which the Balkans are the desired destination, in itself an exception to the rule. The analyses are based on the appropriated definition of migrant cinema and complemented with notions of inner exile and accented cinema.
Amsterdam University Press eBooks, Feb 15, 2022
Routledge eBooks, Jan 24, 2022
Images, Dec 22, 2018
The aim of this paper is to analyse the shift of the representational and narrative paradigms of ... more The aim of this paper is to analyse the shift of the representational and narrative paradigms of Holocaust memory in the Balkan films that belong to two genres-of melodrama and historical fiction. The hybrid format positons the Holocaust (hi)stories-already caught between forgetting and remembrance-on the unstable ground between trauma and nostalgia; between history and memory; or facts and fiction. The "regained visibility of the Holocaust grant us access" to Balkan past and present and oblige us to investigate the convergence of the history and the memory into Holocaust master narrative of the Holocaust. "Bringing the dark past to light" in cinema has manifold effect. First, the Balkan wave of Holocaust films, with its mixed generic performances, offers new answers to the traditional issues of, both, the ethics of memory and the ethics of representation. Second, the analysis of five films reveals that the trauma from the past-resisting the closure-has the potential to powerfully resonate in the present day political crises. Redressing the trauma of the past, the films present the future violence while fulfilling "the Holocaust dictum 'never forget'". Eventually, new representational paradigm gives consistency to the Balkan (hi)stories of the past and coherence to the identity in the present.
Zbornik Radova Akademije Umetnosti, 2022
Cilj rada je da mapira preobražaj istorijske i kulturne traume-"kada je ceo jedan grad završio po... more Cilj rada je da mapira preobražaj istorijske i kulturne traume-"kada je ceo jedan grad završio pod ledom"-i njima vraćena kolektivna sećanja grada u transnacionalno sećanje i narative apsolutnih žrtvi, te da ga pokaže kroz analizu filmova Hladni dani (Hideg Napok, 1966, Andraš Kovač [András Kovács], Mađarska) i Spomenik (1967, Miroslav Antić, SFRJ). Njihovi komplementarni narativi o Novosadskoj raciji, ispripovedani iz različitih nacionalnih perspektiva, suprotstavljenih optika žrtvi i počinilaca, sa tačke posmatranja generacija i postgeneracija (a potonjima pripada i autorka ovog teksta), zajedno sa naslovima koji samo dodiruju temu poput Jevreji dolaze (Prvoslav Marić, 1991, SFRJ) i Peščanik (Sabolč Tolnaj [Szabolcs Tolnai], 2007, SFRJ), postaju, istovremeno, prostori upisa zamršene dijalektike etnicizacije i deetnicizacije sećanja i kulturni okvir koji oblikuje slike prošlosti i tumačenja istorije. U istom ključu rad koristi tri teorijska interpretativna okvira-"nasilja kao tvorbene sile na Balkanu" (Maks Bergholc [Max Bergholz], 2016); transnacionalnog sećanja i apsolutnih žrtvi, i "sećanja i saučesništva" (Debarati Sanjal [Debarati Sanyal], 2015)-koji otvaraju nova čitanja prošlosti i pisanja istorije u filmovima, a u skladu sa savremenim političkim kontekstom. Pomenuta deetnicizacija u radu se prepoznaje kao promena "etničkog" u "etičkog", igrom reči označena kao kao et/n/ička, i time povezana sa iskonskim pitanjem identiteta i odnosa identiteta i sećanja. Istovremeno, oblikovanje sećanja pojedinca i sećanja različitih socijalnih grupa kojima on/ona pripada u kolektivno sećanje svedoči o tome kako je potonje "postalo snažni simbol brojnih političkih i društvenih tranzicija" koje zahtevaju da se pojedinac, iznova, (re)pozicionira u društvu.
John Benjamins Publishing Company eBooks, 2010
Kultura, 2021
The paper explores the soft power of the Serbian TV series produced in the period 2015-2021-as fo... more The paper explores the soft power of the Serbian TV series produced in the period 2015-2021-as focused on the in depth analysis of the TV series Senke nad Balkanom (Black Sun/Shadows over the Balkans, 2017, Dragan Bjelogrlić)-and their role in the domains of cultural diplomacy and international relations of Republic of Serbia. The research uses the methods of the qualitative (textual, narrative, genre) and quantitative (the financial success in terms of distribution, placement at the festivals, promotions on the social webs) analysis. The aim of this paper is to map out-reading the thematically and generically diverse case studies of multilayered narrative complexity-the emerging patterns of the soft power analysis of TV series and their importance and value for the national cultural policy and diplomacy. Consequently, the multifaceted narrative of the Shadows over the Balkans becomes the story of the past and the present; cultural and political tensions; opposed parties and conflicting identities in the country and in the region. At the same time the TV series creates the image of Serbia-process of 'branding the nation and the state'-aimed for and turned toward the world, but not necessarily made in accordance with the state priorities and strategies. Regional and global reactions and critical response to the Shadows over the Balkans, its international placement, distribution and promotion argue the skilful change of the global into the local phenomenon (global exploitation and the growing soft power) as well as the successfully achieved mission of the cultural diplomacy-have appropriated identity and enhanced visibility of the country and of the nation.
Amsterdam University Press eBooks, Dec 31, 2022
A comparative history of literatures in European languages, 2010
AM Journal of Art and Media Studies
This paper traces the past of the Media Studies through mapping out the paradigmatic development ... more This paper traces the past of the Media Studies through mapping out the paradigmatic development of Film Studies - from theory to studies. It emphasises the threefold expansion of the analytical domain and discipline eventually sketching out the broadly (un)defined interdisciplinary and multimedia domain of the future.
Contemporary Balkan Cinema, 2020
Contemporary European Cinema, 2018
The article deals with the overview of contemporary film production in Serbia. The author states ... more The article deals with the overview of contemporary film production in Serbia. The author states that there are four types of film production in Serbia: the European co productions/europuddling and Euroimage stories ; the no budget (experimental and buddy-buddy movies) ; mainstream or A production movies ; and commercial quickies. The funding background of these movies is divided between the Ministry (firm criteria), the City (loose criteria), technical participation of RTV (Radio-Television of Serbia) and Euroimage. Different sources of funding are reflected in the choice of topics that particular funder chooses. The firm but rather controversial selection criteria of the Ministry resulted in the fact that no feature film was funded in the year 2004 and 2005. The funding for script development resulted in support of mainly urban ‘ middle European’ topics, while films that were funded by the Euroimage preferred Balkan exotic at its best. In this rather difficult situation of the fil...
Lipar, 2021
À travers une perspective multidisciplinaire, basée sur les connaissances historiques et pointant... more À travers une perspective multidisciplinaire, basée sur les connaissances historiques et pointant vers de nouvelles recherches sur le patrimoine culturel et historique des Juifs de Belgrade et de Paris, il s’agit de souligner les similitudes et les différences dans l’existence, la préservation et la présentation du patrimoine juif dans deux environnements géographiquement éloignés, historiquement et socialement différents. L’objectif est de tenir compte du contexte historique, culturel et artistique du patrimoine culturel juif historique et la question inextricablement liée de l’Holocauste. L’article cherche à lancer une discussion sur le Bataclan, le quartier juif de Paris, et Dorcol, une partie de Belgrade où les noms de rue témoignent de la vie de la communauté juive. Le but de l’article n’est pas seulement de comparer et de souligner le lien, mais aussi de promouvoir la diversité du patrimoine culturel de la France et de la Serbie.
Contemporary Balkan Cinema, 2020
The chapter on Serbia examines the significance of the new opportunities for Serbian cinema offer... more The chapter on Serbia examines the significance of the new opportunities for Serbian cinema offered by the country’s inclusion in the Eurimages and MEDIA programs and identifies major turning points and thematic markers within recent Serbian films. It analyses several distinct facets of recent cinematic developments: the emergence of a new wave of young directors whose films contain innovative cinematic and social perspectives; the rise in popular historical genre films supporting nationalist values; and the abundance of commercial – but often unpopular - filmmaking, marked by repetitive genre formulas and stereotypical themes.
Zbornik Radova Akademije Umetnosti, 2015
Fakultet dramskih umetnosti Katedra za teoriju i istoriju Saga o Beloj kući Velika načela ne išče... more Fakultet dramskih umetnosti Katedra za teoriju i istoriju Saga o Beloj kući Velika načela ne iščezavaju kada jedanput izađu na svetlo dana. Ona su tu: samo morate ponovo da ih ugledate. (Gospodin Smit u Senatu, 1939) Apstrakt. Frenk Kapra je iskazao zahvalnost za ostvareni imigrantski san, stvorivši sjajni filmski mit o američkom političkom sistemu kao "imanentno dobrom" kada je u rukama časnih i poštenih. Njegove "moralne bajke", "fantazije dobre volje", prepune vere u obnovu starih-novih principa, tvore složeni odraz idealizovanog amerikanizma tridesetih godina prošlog veka koji je postao temelj reprezentacija američkog političkog sistema. Capraesque narativ-"kao mešavina optimizma, humora, patriotizma, a za one koje zaista razumeju njegov rad (i) mraka, očaja i potrebe da se borite za stvari do kojih vam je stalo..." (Bassinger, 1982: 48)-satkana od sveameričkih vrednosti, figura običnih ljudi, 1 istorijskih likova, mita demokratije produžava se beskrajnom mrežom intertekstualnih tragova u filmskoj i TV-produkciji. Praćenje linija razvoja-kroz političku melodramu, melodramsku politiku i političku sapunicu-vodi od Kapre do serija Zapadno krilo
by Svava Riesto, Kris Pint, Nevena Dakovic, Dalia Dijokienė, Juan A. García-Esparza, Katarzyna Kopecka-Piech, Karen Lens, Adriana Martins, Asma Mehan, Bie Plevoets, Angelos Theocharis, Jana Culek, Lamila Simisic, Mirza Emirhafizović, and Inesa Kurtinaitienė
Vademecum. 77 Minor Terms for Writing Urban Places, 2020
Words help us to make sense of what happens in the city, and the words we use to describe urban p... more Words help us to make sense of what happens in the city, and the words we use to describe urban places imply a specific outlook. This book offers 77 concepts in the hope that they will stimulate new ways of describing and narrating European cities. The concepts are less obvious, “minor” terms that can nevertheless be used to write European cities anew, in ways that emphasize the local, alternative, disenfranchised, and overlooked. Minor concepts can reveal blind spots in urban discourse, or bring insights from one discipline or language to another.
Vademecum means walk with me, and we imagine this book as a field guide you can carry in your pocket while you explore real-life urban places. The arbitrary number of 77 terms captures a particular moment in a experiential collective process among 40 European researchers during the COVID-19 lockdown. This process brought together perspectives from different disciplines and urban settings—from Lithuania to Portugal, from Ireland to Croatia.
An incomplete and open-ended book, it is also an invitation for readers to add their own “minor concepts,” to open new perspectives and write urban places anew.
Edited by Klaske Havik, Kris Pint, Svava Riesto and Henriette Steiner. NAi Publishers.
New Literary Hybrids in the Age of Multimedia Expression Crossing borders, crossing genres, 2014
Hardbound -Available BUY NOW ISBN 9789027234636| EUR 150.00 | USD 225.00 e-Book -BUY FROM OUR E-P... more Hardbound -Available BUY NOW ISBN 9789027234636| EUR 150.00 | USD 225.00 e-Book -BUY FROM OUR E-PLATFORM ISBN 9789027269331| EUR 150.00 | USD 225.00 Begun in 2010 as part of the "Histories of Literatures in European Languages" series sponsored by the International Comparative Literature Association, the current project on New Literary Hybrids in the Age of Multimedia Expression recognizes the global shift toward the visual and the virtual in all areas of textuality: the printed, verbal text is increasingly joined with the visual, often electronic, text. This shift has opened up new domains of human achievement in art and culture. The international roster of 24 contributors to this volume pursue a broad range of issues under four sets of questions that allow a larger conversation to emerge, both inside the volume's sections and between them. The four sections cover, 1) Multimedia Productions in Theoretical and Historical Perspective; 2) Regional and Intercultural Projects; 3) Forms and Genres; and, 4) Readers and Rewriters in Multimedia Environments. The essays included in this volume are examples of the kinds of projects and inquiries that have become possible at the interface between literature and other media, new and old. They emphasize the extent to which hypertextual, multimedia, and virtual reality technologies have enhanced the sociality of reading and writing, enabling