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Antologías (2024)

Metadatos del libro

Contenido

Film and Politics (2024)

https://doi.org/10.18485/ips_film_politics.2024
1.
The World of Dune as an Alternate Future Without AI

Primož Krašovec

Film and Politics, 2024, p. 13–32

https://doi.org/10.18485/ips_film_politics.2024.ch1Detallado
2.
They Slay Dragons, Don’t They? On Taming of Dragons and the Oblivion of Evil in Modern Storytelling

Nikola Tanasić

Film and Politics, 2024, p. 33–48

https://doi.org/10.18485/ips_film_politics.2024.ch2Detallado
3.
Star Wars, from the Jungles of Vietnam to the Deserts of Iraq and Beyond

Ivan Matić

Film and Politics, 2024, p. 49–64

https://doi.org/10.18485/ips_film_politics.2024.ch3Detallado
4.
The Prince of the Rings: Can Films Help Us Understand Politics?

Isidora Novaković

Film and Politics, 2024, p. 65–80

https://doi.org/10.18485/ips_film_politics.2024.ch4Detallado
5.
Films and Series as Instruments of Geopolitics

Zoran Milošević

Film and Politics, 2024, p. 83–103

https://doi.org/10.18485/ips_film_politics.2024.ch5Detallado
6.
Film as Soft Power

Braco Kovačević

Film and Politics, 2024, p. 105–125

https://doi.org/10.18485/ips_film_politics.2024.ch6Detallado
7.
Cultural Paradiplomacy Capacities; Cinema and Film: A Strategic Perspective in Cultural Relation and Convergence; A Case Study of Iran and Serbia

Maryam Khaleghinezhad

Film and Politics, 2024, p. 127–142

https://doi.org/10.18485/ips_film_politics.2024.ch7Detallado
8.
Film and Reconciliation: A Case Study from the Republic of South Africa

Miloš Jevtić

Film and Politics, 2024, p. 143–157

https://doi.org/10.18485/ips_film_politics.2024.ch8Detallado
9.
Cinema as a Tool of Cognitive Warfare: The Case of the Republic of Serbia

Elena G. Ponomareva
Yevgeny V. Ryabinin

Film and Politics, 2024, p. 159–172

https://doi.org/10.18485/ips_film_politics.2024.ch9Detallado
10.
“Kill the Russian... in Yourself” Images of Donbass, Russia, and Russians in Modern Ukrainian Cinema

Eduard Anatolievich Popov

Film and Politics, 2024, p. 173–188

https://doi.org/10.18485/ips_film_politics.2024.ch10Detallado
11.
Modern Motion Pistures and TV Series as Tools of Soft Power

Vladimir Dubrovin

Film and Politics, 2024, p. 189–199

https://doi.org/10.18485/ips_film_politics.2024.ch11Detallado
12.
Archaic Motives in Modern Cinematography

Rustem Vahitov

Film and Politics, 2024, p. 203–211

https://doi.org/10.18485/ips_film_politics.2024.ch12Detallado
13.
Social Deviations and Deviations of Socialism: Critical Cinematography of the Yugoslav Black Wave

Aleksandar Matković

Film and Politics, 2024, p. 213–232

https://doi.org/10.18485/ips_film_politics.2024.ch13Detallado
14.
Feature Films and Documentaries on Soviet History as a Means of Constructing Political Identity in Contemporary Russia

Andrey Baranov

Film and Politics, 2024, p. 233–246

https://doi.org/10.18485/ips_film_politics.2024.ch14Detallado
15.
The Film Industry as a Political Persuasion Technology

Natalya Belous
Elena Vakulina

Film and Politics, 2024, p. 247–254

https://doi.org/10.18485/ips_film_politics.2024.ch15Detallado
16.
The Film “Alexa Dundić” as Part af the Policy of Overcoming the Conflict of the FPR of Yugoslavia and the USSR

Nenad Petrović

Film and Politics, 2024, p. 255–264

https://doi.org/10.18485/ips_film_politics.2024.ch16Detallado
17.
Anthropological Interpretation of the Film “They Live”

Jelena Miljković Matić

Film and Politics, 2024, p. 265–284

https://doi.org/10.18485/ips_film_politics.2024.ch17Detallado
18.
The Political and Ideological Aspect in the Cinematography of the USSR and the Russian Federation on the Example of Films about War

Ivan Andreevich Ivannikov

Film and Politics, 2024, p. 285–294

https://doi.org/10.18485/ips_film_politics.2024.ch18Detallado
19.
Situ Zhaodun’s Legacy: An Enduring Contribution to Socio-Cultural Cinematography

Marta Nešković
Hongyun Sun

Film and Politics, 2024, p. 297–316

https://doi.org/10.18485/ips_film_politics.2024.ch19Detallado
20.
Oliver Stone’s Political Cinema

Vladan Stanković

Film and Politics, 2024, p. 317–331

https://doi.org/10.18485/ips_film_politics.2024.ch20Detallado
21.
Abuse of Power Through the Prism of Contemporary Political Cinema

Tijana Perić Diligenski

Film and Politics, 2024, p. 333–346

https://doi.org/10.18485/ips_film_politics.2024.ch21Detallado
22.
The Film Industry and Election Campaigns

Jelena Vujanović

Film and Politics, 2024, p. 347–361

https://doi.org/10.18485/ips_film_politics.2024.ch22Detallado
23.
Critique of Slobodan Milošević’s Rule in Serbian Cinematography: A Case Study of the Film “The Professional”

Nikola Perišić

Film and Politics, 2024, p. 363–380

https://doi.org/10.18485/ips_film_politics.2024.ch23Detallado
24.
Cinematic Self-Criticism as a Method of Justification of Contemporary Politics: The Case of Barbie and Oppenheimer

Aleksandra Vučković

Film and Politics, 2024, p. 381–398

https://doi.org/10.18485/ips_film_politics.2024.ch24Detallado
25.
Suleiman the Magnificent as a TV Series Hero: An Emperor, a Lover, a Poet

Hakan Yalap

Film and Politics, 2024, p. 401–408

https://doi.org/10.18485/ips_film_politics.2024.ch25Detallado
26.
Czech Cinematography as an Instrument of Nazi Policy in the Protectorate of Bohemia and Moravia in 1939–1945

Kirill Shevchenko

Film and Politics, 2024, p. 409–418

https://doi.org/10.18485/ips_film_politics.2024.ch26Detallado
27.
Identitary Symbols and Spanish Cinematic Discourse — From Francoism to Almodovarian Cinema

Sanja Stošić

Film and Politics, 2024, p. 419–444

https://doi.org/10.18485/ips_film_politics.2024.ch27Detallado
28.
Thunderous Silence — Christianity at the Time of Persecution in Japan

Sonja Višnjić Žižović

Film and Politics, 2024, p. 445–463

https://doi.org/10.18485/ips_film_politics.2024.ch28Detallado
29.
Between History and Dream: Decoding Fellini’s “And the Ship Sails On”

Matija Malešević

Film and Politics, 2024, p. 465–474

https://doi.org/10.18485/ips_film_politics.2024.ch29Detallado
30.
Science and Journalism Combined in Exposing the Hidden Messages of Film
With a Selected Bibliography of Scientific Works
Dajana Lazarević

Film and Politics, 2024, p. 475–487

https://doi.org/10.18485/ips_film_politics.2024.ch30Detallado