How did the Censorship and Digital Piracy of A Serbian Film Affect Interpretations of Serbian National Identity in the U.K.? (original) (raw)
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No Escape from the Body: Bleak Landscapes of Serbian horror film
This paper aims to investigate the body of Serbian horror film, which is slim in number of titles, but rich and diverse in their accomplishments. Looking at them from the standpoint of the body's role and presentation, new perspectives are opened for understanding the impressions of bleakness and doom which hang over most of these films. If body gothic may provide for temporary and imaginary escape or release from the constraints of embodiment via fantastic re-shapings, transformations or hybridisations, in Serbian horror films there is no transgression nor transformation – corporality seems inescapable while characters are constrained and doomed in vicious circles of repetition. More specifically: sexuality leads to damnation or is damnation itself in Djordje Kadijević's The She-Butterfly (Leptirica, 1973) and A Holy Place (Sveto mesto, 1990); there is no escape from the body and the autopsy, with which the film ends, reduces its protagonist to dead meat in GASP! aka The Backbone (Kičma, Vlatko Gilić, 1975); Variola Vera (Goran Marković, 1982) uses the smallpox disease as a metaphor for the unhealthy system of the socialist Yugoslavia and sees the virus as eternal, inescapable, constantly mutating; in The Life and Death of a Porno Gang (Život i smrt porno bande, Mladen Djordjević, 2009) there is no possibility for real, lasting emancipation: transgressive individualists' bodies are sold for fun and profit; finally, A Serbian Film (Srpski film, Srdjan Spasojević, 2010) presents its characters as literally and metaphorically raped from birth; it 1 Kontakt sa autorom: dejan@rue-morgue.com HUMANISTIKA · broj 1 · April 2017. godine
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Censorship beyond classification: the Brazilian reception of 'A Serbian Film'
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This article is related to an extensive research on censorship, sponsored by FAPESP (Foundation for Research Support of São Paulo), that has its base on censorship processes, irradiating to the investigation of censored words, their category and text implications, the tracking of public opinion about censors’ interventions, as well as the journalistic manifestations about these issues. In this article we present partial results of our current research on discursive formations that have inspired the Manual for Media Rating, a set of rules that guides the classification applied to cultural and artistic products, such as movies, television programs etc. This paper explores the classification of A Serbian Film, a recent polemic process in the Brazilian scenario after the federal Ministry of Justice refused to forbid the movie.
Jones, S. (2016) “’Extreme’ Porn?: The Implications of a Label”, Porn Studies, 3:3.
Despite its prevalence, the term " extreme " has received little critical attention. " Extremity " is routinely employed in ways that imply its meanings are self-evident. However, the adjective itself offers no such clarity. This article focuses on one particular use of the term – " extreme porn " – in order to illustrate a broader set of concerns about the pitfalls of labelling. The label " extreme " is typically employed as a substitute for engaging with the term's supposed referents (here, pornographic content). In its contemporary usage, " extreme " primarily refers to a set of context-dependent judgements rather than absolute standards or any specific properties the " extreme " item is alleged to have. Concurrently then, the label " extreme " carries a host of implicit values, and the presumption that the term's meanings are " obvious " obfuscates those values. In the case of " extreme porn, " that obfuscation is significant because it has facilitated the cultural and legal suppression of pornography.
Violent subjectivity: new extremist cinema and the philosophy of Jean-Luc Nancy (MA, 2013)
Non-simulated penetrative sex, graphic sexual violence, gore, cannibalism, murder, incest, and necrophilia: excessive violence and explicit sexuality characterize European new extremism, a contemporary arthouse film movement that challenges audiences through its visceral interrogations of the body. Affect and embodiment are at the heart of the discourse concerning new extremism. Although approaching the movement from different frameworks, scholars agree that these films are transgressive in terms of style as well as content: they foreground the ways that cinema is able to impact the body, rather than the mind, of the spectator, and in doing so challenge traditional notions of spectatorship. This thesis examines new extremism in light of the work of contemporary French philosopher Jean-Luc Nancy, whose ontology of the subject provides a fresh perspective on the confrontational and occasionally traumatic cinematic experiences offered by these films.