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首页> 外文期刊>New Review of Film and Television Studies >Intercultural cinema and Balkan hushed histories
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Intercultural cinema and Balkan hushed histories

机译：跨文化电影和巴尔干的寂静历史

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Everybody in the Balkans has fought against everybody else and has practiced the assimilation business at some point. The official history books of each Balkan nation tell the past in a way that implies idiosyncratic and often self-serving approaches to reconciling conflicting historical records of contested events. The narratives of displacement and assimilations that have taken shape as part of bigger historical processes are usually contested and remain suppressed in official historiography. They are regularly avoided in public discourse yet are nonetheless kept alive in oral history and are tackled in anthropological writing. Films that address these issues are considered highly awkward. In my paper I will look at the cinematic representation of some of these 'hushed histories' from the Balkans, concerning forgotten forced population movements, linguistic coercion and identity curtailment. I will consider several important and politically sensitive cinematic texts made across the region, all of which address the divided state of the nation whose discourse they are tackling (e.g. Crno seme/Black Seed, Yugoslavia/Macedonia, Kiril Tsenevski, 1971; Mera spored mera/Measure for Measure, Bulgaria, Georgy Dyulgerov, 1981; Taxdi sta Kthira/Voyage to Cythera, Greece, Theo Angelopoulos, 1984; Kal patrda, sntrofe!/Welcome Home, Comrade!, Greece, Lefteris Xanthopoulos, 1986; Bulutlari beklerken/Waiting for the Clouds, Turkey/France/Germany/Greece, Yesim Ustaoglu, 2004). These films are contentious because they often depict events that take place on foreign territory people that are de facto foreign subjects. The directors of these films believe that issues of identity can be addressed adequately only by including in the national narrative the experiences of those whose lives have been, for one reason or another, spent outside of the (shifting) nation-state borders of their respective countries.
机译：巴尔干半岛的每个人都在与其他人作战，并在某些时候实践了同化业务。每个巴尔干国家的官方历史书籍都以一种暗示特有且通常是自我服务的方式来调解过去的历史，以调和有争议事件的冲突历史记录。在更大的历史过程中逐渐形成的流离失所和同化叙事通常受到争议，并在官方史学中一直受到压制。他们在公共场合经常被避免使用，但在口述历史中仍然活着，并在人类学著作中得以解决。解决这些问题的电影被认为很尴尬。在我的论文中，我将看一下巴尔干半岛上这些“简陋的历史”的电影表现形式，涉及被遗忘的强迫人口迁移，语言强迫和身份缩减。我将考虑在该地区制作的一些重要且具有政治敏感性的电影文字，所有这些文字都针对他们正在讨论的国家的分裂状态（例如Crno seme / Black Seed，南斯拉夫/马其顿，Kiril Tsenevski，1971； Mera赞美的旋律） / Measure for Measure，保加利亚，Georgy Dyulgerov，1981； Taxdi sta Kthira /航行至Cythera，希腊，Theo Angelopoulos，1984； Kal patrda，sntrofe！/ Welcome Home，同志，希腊，Lefteris Xanthopoulos，1986； Bulutlari beklerken / Waiting云，土耳其/法国/德国/希腊，Yesim Ustaoglu，2004年）。这些电影之所以引起争议，是因为它们经常描述发生在事实上是外国题材的外国领土上的事件。这些电影的导演认为，只有通过在民族叙事中纳入那些因某种原因而生活在各自国家（不断变化的）民族边界之外的人们的经历，才能充分解决身份问题。国家。

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