Welcome To Sarajevo

This is the story of ITN reporter Michael Nicholson's rescue of Natasha, a nine-year-old orphan from war-torn Sarajevo. The book tells of Michael's encounter with 200 children in an orphanage, the bond he developed with Natasha and their escape to England.

A moving and compelling true story about two sisters fighting for survival in Sarajevo during the Bosnian war

This brilliant novel with universal resonance tells the story of three people trying to survive in a city rife with the extreme fear of desperate times, and of the sorrowing cellist who plays undaunted in their midst. One day a shell lands in a bread line and kills twenty-two people as the cellist watches from a window in his flat. He vows to sit in the hollow where the mortar fell and play Albinoni’s Adagio once a day for each of the twenty-two victims. The Adagio had been re-created from a fragment after the only extant score was firebombed in the Dresden Music Library, but the fact that it had been rebuilt by a different composer into something new and worthwhile gives the cellist hope. Meanwhile, Kenan steels himself for his weekly walk through the dangerous streets to collect water for his family on the other side of town, and Dragan, a man Kenan doesn’t know, tries to make his way towards the source of the free meal he knows is waiting. Both men are almost paralyzed with fear, uncertain when the next shot will land on the bridges or streets they must cross, unwilling to talk to their old friends of what life was once like before divisions were unleashed on their city. Then there is “Arrow,” the pseudonymous name of a gifted female sniper, who is asked to protect the cellist from a hidden shooter who is out to kill him as he plays his memorial to the victims. In this beautiful and unforgettable novel, Steven Galloway has taken an extraordinary, imaginative leap to create a story that speaks powerfully to the dignity and generosity of the human spirit under extraordinary duress.

Some trips are chosen, others choose you. When tragedy strikes Bill Carter's life he finds himself drawn to a war zone. In the modern heart of darkness, the besieged city of Sarajevo, we meet a man rebuilding the ruins of his former self in the most unlikely of places. Carter joins a maverick aid organization, 'The Serious Road Trip', and dodges snipers to deliver food and supplies to those the UN can't reach. He makes friends with the artistic community of Sarajevo and fights alongside them for survival in a place where food and water are scarce, where you meet death every day, but crucially where life, love and laughter ring out all the same. Carter takes his journey one surreal step further and enlists the help of major rock band U2.The ensuing events go no small way to influencing the course of the war and Western awareness of it.

How far should a reporter go for a story? What's the role of the press at the scene of an emergency, or a murder? Why has journalism suddenly become so susceptible to plagiarism? Here's a book that poses these and other urgent questions--and offers candid answers. At a time when professionals and the public alike worry that journalism has lost its way, Journalism Ethics Goes to the Movies is available to provide much-needed, accessible guidance. Its twelve chapters, written by some of the nation's leading journalism scholars, explore issues that should concern anyone who aspires to a career in journalism, who works in the field, or who relies on news for daily information. Best of all, as the title suggests the contributors conduct their dynamic and engaging investigations at the movies, where sportswriters, war correspondents, investigative reporters, crime reporters, spin doctors, TV anchors, and harried city editors tackle these pressing issues. Journalism Ethics Goes to the Movies isn't your typical textbook. Using popular movies from Wag the Dog to Good Night, and Good Luck to illustrate the kind of ethical dilemmas journalists encounter on the job, this student-friendly book is sure to spark interest and stimulate thinking.

Acclaimed British director Michael Winterbottom is renowned for the abundance and diversity of his output. His films span a wide range of genres in art house and mainstream cinema alike, from the heritage film to neo-noir. Working with different genres gives Winterbottom a framework in which to explore favored themes, while incorporating new ideas and taking on new challenges. At the same time, his manner of undermining familiar generic qualities and frustrating audience expectations also refreshes the genres he explores. In The Cinema of Michael Winterbottom, Deborah Allison investigates Winterbottom's contributions to contemporary cinema, using ideas of genre as a critical tool. Focusing on eight films, Allison examines the ways he adopts, inflects, and challenges the main attributes of the films' associated genres, enriching a highly personal and idiosyncratic style of filmmaking. The potency and integrity of his authorship unites films as generically diverse as the road movie Butterfly Kiss, western drama The Claim, sci-fi romance Code 46, and docudrama The Road to Guantanamo.

A Sight & Sound Book of the Year "Eye-opening and addictively readable." Total Film Who and what decides if a film gets funded? How do those who control the purse strings also determine a film's content and even its message? Writing as the director of award-winning feature films including Welcome to Sarajevo, 24 Hour Party People and The Road to Guantanamo as well as the hugely popular The Trip series, Michael Winterbottom provides an insider's view of the workings of international film funding and distribution, revealing how the studios that fund film production and control distribution networks also work against a sustainable independent film culture and limit innovation in filmmaking style and content. In addition to reflecting upon his own filmmaking career, featuring critical and commercial successes alongside a 'very long list' of films that didn't get made, Winterbottom also interviews leading contemporary filmmakers including Lynne Ramsay, Mike Leigh, Ken Loach, Asif Kapadia and Joanna Hogg about their filmmaking practice. The book closes with a vision of how the contemporary filmmaking landscape could be reformed for the better with fairer funding and payment practices allowing for a more innovative and sustainable 21st century industry.

On April 15, 1941, Sarajevo fell to Germany’s 16th Motorized Infantry Division. The city, along with the rest of Bosnia, was incorporated into the Independent State of Croatia, one of the most brutal of Nazi satellite states run by the ultranationalist Croat Ustasha regime. The occupation posed an extraordinary set of challenges to Sarajevo’s famously cosmopolitan culture and its civic consciousness; these challenges included humanitarian and political crises and tensions of national identity. As detailed for the first time in Emily Greble’s book, the city’s complex mosaic of confessions (Catholic, Orthodox, Muslim, Jewish) and ethnicities (Croat, Serb, Jew, Bosnian Muslim, Roma, and various other national minorities) began to fracture under the Ustasha regime’s violent assault on "Serbs, Jews, and Roma"—contested categories of identity in this multiconfessional space—tearing at the city’s most basic traditions. Nor was there unanimity within the various ethnic and confessional groups: some Catholic Croats detested the Ustasha regime while others rode to power within it; Muslims quarreled about how best to position themselves for the postwar world, and some cast their lot with Hitler and joined the ill-fated Muslim Waffen SS. In time, these centripetal forces were complicated by the Yugoslav civil war, a multisided civil conflict fought among Communist Partisans, Chetniks (Serb nationalists), Ustashas, and a host of other smaller groups. The absence of military conflict in Sarajevo allows Greble to explore the different sides of civil conflict, shedding light on the ways that humanitarian crises contributed to civil tensions and the ways that marginalized groups sought political power within the shifting political system. There is much drama in these pages: In the late days of the war, the Ustasha leaders, realizing that their game was up, turned the city into a slaughterhouse before fleeing abroad. The arrival of the Communist Partisans in April 1945 ushered in a new revolutionary era, one met with caution by the townspeople. Greble tells this complex story with remarkable clarity. Throughout, she emphasizes the measures that the city’s leaders took to preserve against staggering odds the cultural and religious pluralism that had long enabled the city’s diverse populations to thrive together.