Contributors' Details

Vida T. Johnson (editor): PhD in Slavic Languages and Literatures, Harvard University, with a dissertation on Ivo Andrić. Professor of Russian language, literature, and culture at Tufts University (Boston) and specialist in Soviet and post-Soviet, especially Russian and Central Asian cinema. Consulting co-editor for film for the Russian Review; co-author with Graham Petrie of Andrei Tarkovsky, titled The Films of Andrei Tarkovsky: A Visual Fugue (1994), translated into Serbian as Filmovi Andreja Tarkovskog: Vizuelna fuga (2007). Co-editor with Miroljub Vučković of dual-language (Serbian and English) Film Center Serbia publication: Introducing Youth: Self-Reflections on Serbian Cinema (2008).

Nevena Daković: PhD, professor of Film Theory/Film Studies at the Department of Theory and History, University of the Arts in Belgrade, and co-coordinator there of interdisciplinary PhD program in Art and Media Studies. She publishes widely in the national and international venues (UK, Turkey, Slovakia, France, USA), participates in conferences and is a frequent visiting professor (Oxford, Nottingham, Warwick, Ankara, Ljubljana, Istanbul etc.). Her research is focused on the issues of identity (mainly national, multicultural) representations in cinema and, more broadly, in arts and media. Her book Balkan kao (nacija): Zanr, tekst, nacija (Balkans as (Film) Genre: Image, Text, Nation) appeared in 2008.

Greg DeCuir, Jr.: PhD student at the Faculty of Dramatic Arts in Belgrade, where he is writing a dissertation on the history of Yugoslav cinema. He holds a BA in Journalism from the University of Oklahoma and an MA in Cinematic Arts from the University of Southern California.  He is an adjunct professor in the Faculty of Media and Communications at Singidunum University (Belgrade) and an independent documentary filmmaker. His writings have been translated and published in the journals Prelom, Huper and the program of the Yugoslav Cinemathèque museum.

Marko Dumancic: Completing his PhD dissertation at University of North Carolina, Chapel Hill on representations of Soviet masculinity in Thaw-era films entitled “Scripting Soviet Masculinity: Contesting the Masculine Ideal in Soviet Film, 1953-1968.” His current research interests also include the history of sexuality in Yugoslavia and the history of postwar European cinema.

Goran Gocić: A freelance writer whose works have been published or broadcast by over thirty media outlets in eight languages (BBC, Sight & Sound, IFG, NIN, Borba, Politika, RTS, etc). He holds a BA in English literature and MSc in media theory from LSE (1999). He also works as an editor (Dnevni telegraf, BBC Monitoring, Fama,etc). Author, in Serbian, of monographs: Andy Warhol and the Strategies of Pop (1997), The Cinema of Emir Kusturica: Notes from the Underground (2001, Serbian edition 2006), Zelimir Zilnik: Above the Red Dust (co-author; 2003), Pornocratia: A Cultural History of Sex (2008). He published chapters in fifteen books on art and the mass media. Documentaries: Bloody Foreigners (UK 2000, Special Commendation Prix Europa), Balkan Diaries: Bulgaria (Serbia/Bulgaria 2008) and Today a Visa, Tomorrow the World (Serbia 2009).

Ivana Kronja: ABD in the Faculty of Dramatic Arts (FDU), Belgrade with a dissertation on the aesthetics of avant-garde film, and senior lecturer at the Fine and Applied Arts College in Belgrade. Publications in Serbian: Deadly Splendour: Mass Psychology and the Aesthetics of Turbofolk (2001) and co-edited collection Experimental Cinema (2002). She has published academic papers in Slovo, Ethnologia Balcanica, Film Criticism, New Review of Film and Television Studies, Kultura, etc. She is the author of short films The Truth Game (1995) and Rat in The Kitchen (2004). Coordinator and pre-selector of the foreign competition program at the Belgrade Short and Documentary Film Festival 20022007.

Misha Nedeljkovich: MA in Fine Arts, in film and television, UCLA. Kenkysei (graduate study), Tokyo University; PhD in International Communication, Ohio University; Associate Professor, Film, Video Studies and Journalism, Mass Communications, Broadcasting at University of Oklahoma; Documentary film director— official selection of the International Festival, Monte Carlo, 1985. He publishes on mass media and broadcasting in former communist countries. His book Americki Film Noar (2007) is devoted to genuine American “film noir.”
 
Dejan Ognjanović: Currently works as an asistant lecturer of American literature at the Faculty of Philosophy, Niš. In Serbian, he published film criticism and essays in the periodicals Polja, Ulaznica, Sveske, Letopis Matice Srpske, Gradina, Plima plus, and magazines Evropa, Dnevnik, Beton, Fama, Pressing as well as on the Popboks site. In English, he publishes on the sites Kung Fu Cult Cinema and Beyond Hollywood. His essays have been published in the collections 100 European Horror Films (2007), 501 Movie Directors (2007), 101 Horror Films and 101 Science Fiction Films (2009) Books in Serbian: Horrors on the Hills: Serbian Horror Cinema (2007), The Faustian Screen: The Devil in Cinema (2006), A Study of Horror (2008). He has also edited the book New Shots: Neglected Tendencies of Serbian Cinema (with Ivan Velisavljević; 2008).

Ana Janković Piljić: Currently a graduate student of cinema and media at the Faculty of Dramatic Arts (FDU) in Belgrade. One of the authors of the project The Relationship of Art and Media and European Integration—Serbia 2000–2010. Her works on cinema have been published in the editions of the Film Institute, the modern art journal Prelom, the anthology Belgrade Film Critics Circle, a collection of essays published by the FDU and the daily newspaper Večernje novosti. Writer of television screenplays and radio dramas broadcast on Radio Television of Serbia (RTS) and stage plays released as bicultural projects in Serbia and the USA.

Christina Stojanova: Academic, curator and writer, who teaches at the Department of Media Production and Studies, University of Regina. She contributes to Kinokultura and is co-editor of the journal's special issue on Romanian Cinema (2007). Author of East European Cinema and the Totalitarian State (2003). She has contributed to books and journals in the UK, Canada, Romania and Bulgaria. Her research involves cultural semiotics and gender representation in Canadian multi-cultural cinema, the cinema of Québec and phenomenology of horror in Russian and East European cinema.

Vlastimir Sudar: PhD thesis titled “A Portrait of the Artist as Political Dissident: The Life and Work of Aleksandar Petrović,” at the University of St. Andrews, Scotland; Serbian film maker and freelance writer living in the UK. Contributes reviews to Sight and Sound.

Ivan Velisavljević: BA from the Department for Literature and Theory of Literature in the Faculty of Philology in Belgrade. Worked in the Story Department of the Hollywood production company Phoenix Pictures. Published film criticism and essays in journals and newspapers: Sarajevske sveske, Književni list, Danas, Koraci, Treći trg, Braničevo, Evropa, Huper, Yellow Cab... He has also directed several short film which were screened at festivals. Initiator and coordinator of the New Shots project, a network of young film critics.

Aida Vidan: PhD from Harvard where she currently teaches Bosnian, Croatian, and Serbian and is a Research Fellow at the Milman Parry Collection of Oral Literature. Her interests include both institutionalized and oral traditional literature from the South Slavic region as well as methodologies of teaching South Slavic languages. Her published volumes include Embroidered with Gold, Strung with Pearls: The Traditional Ballads of Bosnian Women and the textbooks Beginner’s Croatian and Beginner’s Serbian. She is currently writing a book on the impact of the Balkans wars of the 1990s on literary and cinematic developments in the region. Some of her other projects concern Croatian Renaissance drama and the application of databases in researching oral poetry.

Dimitrije Vojnov won a Special Silver Shell in 1992 at the San Sebastian Film Festival for his leading role in the film Tito and I by Goran Marković. Between 1998 and 2006 worked as a film critic in numerous daily and weekly papers and specialized journals. As a playwright he made his debut in 2004 with Big White Conspiracy which was staged at the Belgrade theatre Atelier 212, Sarajevo’s Chamber Theater and adapted for Belgrade’s and Zagreb’s state radio. The same year he received his BA in Drama from the Faculty of Dramatic Arts (FDU) in Belgrade. In 2006 he made his debut as a screenwriter with the film A3—Rock’n’Roll Strikes Back which had the largest box office that season.

Srdjan Vučinić: BA at the Faculty of Philology in Belgrade, in the Department for World Literature. He has published over 300 texts dedicated to cinema and literature, mostly in periodicals (Reč, Beogradski književni časopis, Novi filmograf, Povelja, Književnii list), in weeklies Reporter and NIN,as well as in the daily newspaper Politika. His publications in Serbian are the collection of essays Kingdoms and Expulsions (2002) and a short study Andrey Tarkovsky: A Sketch for a Philosophy of Art (2007). His radio plays Dragutin Ilić (2007) and Prince Djordje Karadjordjević (2008) were broadcast on Radio Belgrade.Since 2000, he has worked as artistic adviser of the Festival of Auteur Cinema in Belgrade.

 

Updated: 09 Oct 09