Images Of Montenegro In Anglo American Creative Writing And Film

This book observes images of Montenegro in Anglo-American creative writing and films from the late eighteenth century until 2016. Like the Balkans as a whole, Montenegro usually reappeared in the West’s consciousness with the outbreak of wars, but remained marginalized on the larger Balkan map because of its peripheral political influence and, therefore, remained little known. In the past, Montenegro was experienced as almost unapproachable, barren, and wild. Its people, like their mountains, were seen as massive and fierce, while their primitivism equally delighted and repulsed visitors. Even today, when one searches the Internet for “Montenegro,” one finds titles mostly containing modifiers circling around “undiscovered,” “magical,” and “mysterious.” The book follows these vignettes chronologically to point out how the rhetoric they share dangerously builds a caricature of the country. However, they also provide a very lively mosaic of landscapes, history, people, their costumes, houses, and everyday life, which are sometimes distorted. No one can claim that these descriptions were not influenced by the ideologies the travellers inherited at home and were not filtered through their own cultural grids, but, significantly, they evoke places that are now forever lost – destroyed in wars, by earthquakes, faulty development planning, or, simply, by time.

All too often Albania has been considered a relatively minor player in late-19th and early-20th century history. By contrast, this book highlights the significance of this nation and the Albanian question at this time through a detailed analysis of the relationship between Albania, Britain and the Ottoman Empire from 1876 to 1914. Making use of a wide range of archival source materials – some of which are published here in English for the first time – this book explores British foreign policy towards the development of the Albanian national movement and parallel demise of the Ottoman Empire. In doing so it illuminates the objectives of the British government, as well as shining a spotlight on the public opinion of both the British people towards Albanian nationalism and on the reaction of the Albanians towards the British diplomatic position. By looking through such a unique lens, here Daut Dauti is able to provide fresh insight into why the Albanians were not supported by the Great Powers in their national quest in the way that other Balkan countries were and draws significant new conclusions on British, Balkan and Ottoman relations. As such, this nuanced study is vital reading for all scholars interested in modern Albanian history, turn-of-the-century British international relations and the fall of the Ottoman Empire more broadly.

Imaging and Mapping Eastern Europe puts images centre stage and argues for the agency of the visual in the construction of Europe’s east as a socio-political and cultural entity. This book probes into the discontinuous processes of mapping the eastern European space and imaging the eastern European body. Beginning from the Renaissance maps of Sarmatia Europea, it moves onto the images of women in ethnic dress on the pages of travellers’ reports from the Balkans, to cartoons of children bullied by dictators in the satirical press, to Cold War cartography, and it ends with photos of protesting crowds on contemporary dust jackets. Studying the eastern European ‘iconosphere’ leads to the engagement with issues central for image studies and visual culture: word and image relationship, overlaps between the codes of othering and self-fashioning, as well as interaction between the diverse modes of production specific to cartography, travel illustrations, caricature, and book cover design. This book will be of interest to scholars in art history, visual culture, and central Asian, Russian and Eastern European studies.

Sound for Moving Pictures presents a new and original sound design theory called the Four Sound Areas framework, offering a conceptual template for constructing, deconstructing and communicating all types of motion picture soundtracks; and a way for academics and practitioners to better understand and utilize the deeper, emotive capabilities available to all filmmakers through the thoughtful use of sound design. The Four Sound Areas framework presents a novel approach to sound design that enables the reader to more fully appreciate audience emotions and audience engagement, and provides a flexible, practical model that will allow professionals to more easily create and communicate soundtracks with greater emotional significance and meaning. Of obvious benefit to sound specialists, as well as motion picture professionals such as film producers, directors and picture editors, Sound for Moving Pictures also provides valuable insight for others interested in the subject; such as those involved with teaching soundtrack analysis, or those researching the wider topics of film studies and screen writing.

A filmography of South American motion pictures

'Here is art which conceals art, and intellect which conceals intellect, so that by the end of the book one feels that one understands something one had not understood before. Mr Hall is witty and amusing, but not snide; he has a lightness of touch which allows him to write of extremely serious matters without solemnity; he knows how to convey a great deal in a few words' Sunday Telegraph 'He is an observant and witty writer...you believe implicitly that he has met the people he writes about, and that they said what he quotes them as saying' Sunday Times