Nebojša Jovanović: Unterschied zwischen den Versionen
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*“Fadil Hadžić u optici totalitarne paradigme,” Hrvatski filmski ljetopis, no. 65/66, 2011, 47–60. | *“Fadil Hadžić u optici totalitarne paradigme,” Hrvatski filmski ljetopis, no. 65/66, 2011, 47–60. | ||
*“Futur anterieur of Yugoslav Cinema, or, Why Emir Kusturica’s Legacy is Worth Fighting For ”, in Retracing Images: Visual Culture after Yugoslavia, Daniel Šuber & Slobodan Karamanić (eds), Brill, Leiden, Boston, MA. 2012. | *“Futur anterieur of Yugoslav Cinema, or, Why Emir Kusturica’s Legacy is Worth Fighting For ”, in Retracing Images: Visual Culture after Yugoslavia, Daniel Šuber & Slobodan Karamanić (eds), Brill, Leiden, Boston, MA. 2012. | ||
| − | *“Bosnian cinema in the socialist Yugoslavia and the anti-Yugoslav backlash”, in: Nataša Milas/Cynthia Simmons/Trevor L. Jockims (eds.), KinoKultura, special issue 14: Bosnian cinema, 2012, http://www.kinokultura.com/specials/14/jovanovic.shtml | + | *“Bosnian cinema in the socialist Yugoslavia and the anti-Yugoslav backlash”, in: Nataša Milas/Cynthia Simmons/Trevor L. Jockims (eds.), KinoKultura, special issue 14: Bosnian cinema, 2012, (http://www.kinokultura.com/specials/14/jovanovic.shtml). |
*“Instant klasik za oprezno čitanje” [book review of Postjugoslavenski film: Stil i ideologija by Jurica Pavičić], Hrvatski filmski ljetopis, no. 70, 2012, 227–240. | *“Instant klasik za oprezno čitanje” [book review of Postjugoslavenski film: Stil i ideologija by Jurica Pavičić], Hrvatski filmski ljetopis, no. 70, 2012, 227–240. | ||
*“My own private Yugoslavia: František Čap and the socialist celluloid closet”, Studies in Eastern European Cinema, vol. 3, no. 2, 2012, 211–229. | *“My own private Yugoslavia: František Čap and the socialist celluloid closet”, Studies in Eastern European Cinema, vol. 3, no. 2, 2012, 211–229. | ||
*“Seksologija, muška homoseksualnost i film u socijalističkoj Jugoslaviji”, in Socijalizam na klupi: Jugoslavensko društvo očima nove postjugoslavenske humanistike, Lada Duraković & Andrea Matošević (eds), Srednja Europa/CKPIS/Sveučilište Jurja Dobrile, Zagreb/Pula. 2013. | *“Seksologija, muška homoseksualnost i film u socijalističkoj Jugoslaviji”, in Socijalizam na klupi: Jugoslavensko društvo očima nove postjugoslavenske humanistike, Lada Duraković & Andrea Matošević (eds), Srednja Europa/CKPIS/Sveučilište Jurja Dobrile, Zagreb/Pula. 2013. | ||
*“Kvir paralaksa i jugoslovenski film”, in Medju nama: Neispričane priče gej i lezbijskih života, Jelisaveta Blagojević & Olga Dimitrijević, Heartefact, Belgrade. 2014. | *“Kvir paralaksa i jugoslovenski film”, in Medju nama: Neispričane priče gej i lezbijskih života, Jelisaveta Blagojević & Olga Dimitrijević, Heartefact, Belgrade. 2014. | ||
Version vom 22. November 2014, 12:00 Uhr
Datei:Nebojsa jovanovic.jpg
Nebojša Jovanović
Text: MK
Nebojša Jovanović (*1974) ist ein Filmwissenschaftler aus Sarajevo. Er studierte Psychologie an der Philosophischen Fakultät in Sarajevo und Gender Theorie an der Central European University in Budapest. Im Departement Gender Theorie ist Nebojša Jovanović ein Ph.D. Kandidat und schreibt seine Doktorarbeit über Gender und Sexualität im klassischen Jugoslawischen Kino (1947-1962). Jovanović arbeitet in Sarajevo an der Universität im «Center for Interdisciplinary Postgraduate Studies» als Assistenz-Lektor und unterrichtet Psychoanalyse und Filmtheorie. Er ist auch freischaffender Autor und Übersetzer.
1999 wurde Jovanović ein Mitglied von XXX. Dort organisierte er öffentliche Lesungen von prominenten Theoretiker und Wissenschaftlern (Fethi Benslama, Etienne Balibar, Renata Salecl, Marie Claire Boons Graffe, Richard Rorty, Mark Terkessidis, usw.). Jovanović ist ein Mitglied einer Reihe von regionalen und Europäischen Kultur- und Kunstzeitungen/-zeitschriften.
Seit längerem beschäftigt sich Nebojša Jovanović mit dem jugoslawischen Film und deren «Roten Welle» und «Schwarze Welle». Insbesondere mit den in Bosnien produzierten Filmen.
Publikationen (Auswahl)
- “Tri naracije u savremenom BH filmu, ili, Things to Do in Bosnia When You’re Dead”, Sineast, no. 113-114, 2002, Sarajevo.
- “‘Sehen sie diese Gruppe? Das ist Subjekt!’, ili, Krvavac s Lacanom”, Frakcija, magazin za izvedbene umjetnosti, no. 36, summer 2005, Zagreb.
- “If I were an Artist: An Instructive Postmodern Bosnian Fairy Tale”, in Contemporary Art and Nationalism: Critical Reader, Minna Henriksson & Sezgin Boynik (eds), MM-publication & Missing Identities project, Prishtina. 2007.
- “Kinematografija bunkera. O ‘crnim knjigama’ jugo-filma”, in Horror Porno Ennui : Kulturne prakse postsocijalizma, Ines Prica & Tea Škokić (eds), Institut za etnologiju i folkloristiku, Zagreb. 2011.
- “Breaking the wave: A commentary on ‘Black wave polemics: rhetoric as aesthetic” by Greg DeCuir, Jr”, Studies in Eastern European Cinema, vol. 2, no. 2, 2011, 161–171.
- “Fadil Hadžić u optici totalitarne paradigme,” Hrvatski filmski ljetopis, no. 65/66, 2011, 47–60.
- “Futur anterieur of Yugoslav Cinema, or, Why Emir Kusturica’s Legacy is Worth Fighting For ”, in Retracing Images: Visual Culture after Yugoslavia, Daniel Šuber & Slobodan Karamanić (eds), Brill, Leiden, Boston, MA. 2012.
- “Bosnian cinema in the socialist Yugoslavia and the anti-Yugoslav backlash”, in: Nataša Milas/Cynthia Simmons/Trevor L. Jockims (eds.), KinoKultura, special issue 14: Bosnian cinema, 2012, (http://www.kinokultura.com/specials/14/jovanovic.shtml).
- “Instant klasik za oprezno čitanje” [book review of Postjugoslavenski film: Stil i ideologija by Jurica Pavičić], Hrvatski filmski ljetopis, no. 70, 2012, 227–240.
- “My own private Yugoslavia: František Čap and the socialist celluloid closet”, Studies in Eastern European Cinema, vol. 3, no. 2, 2012, 211–229.
- “Seksologija, muška homoseksualnost i film u socijalističkoj Jugoslaviji”, in Socijalizam na klupi: Jugoslavensko društvo očima nove postjugoslavenske humanistike, Lada Duraković & Andrea Matošević (eds), Srednja Europa/CKPIS/Sveučilište Jurja Dobrile, Zagreb/Pula. 2013.
- “Kvir paralaksa i jugoslovenski film”, in Medju nama: Neispričane priče gej i lezbijskih života, Jelisaveta Blagojević & Olga Dimitrijević, Heartefact, Belgrade. 2014.
