First media magazine of the Balkans.

Music and violence have been linked since antiquity in ritual, myth, and art. Considered together they raise fundamental questions about creativity, discourse, and music's role in society. The essays in this collection investigate a wealth of issues surrounding music and violence—issues that cross political boundaries, time periods, and media—and provide cross-cultural case studies of musical practices ranging from large-scale events to regionally specific histories. Following the editors' substantive introduction, which lays the groundwork for conceptualizing new ways of thinking about music as it relates to violence, three broad themes are followed: the first set of essays examines how music participates in both overt and covert forms of violence; the second section explores violence and reconciliation; and the third addresses healing, post-memorials, and memory. Music, Politics, and Violence affords space to look at music as an active agent rather than as a passive art, and to explore how music and violence are closely—and often uncomfortably—entwined. CONTRIBUTORS include Nicholas Attfield, Catherine Baker, Christina Baade, J. Martin Daughtry, James Deaville, David A. McDonald, Kevin C. Miller, Jonathan Ritter, Victor A. Vicente, and Amy Lynn Wlodarski.

Balkan Propaganda Wars provides an historical, political, and propagandistic perspective of the volatile situation that exists in the Balkans. The book reviews the historical background of the Balkan people--especially those belonging to the former Yugoslavia--from Antiquity through the troubled centuries of the Middle Ages, and continuing with the birth of the modern Balkan states in the 19th century and the more recent political and military evolutions during the 20th century. For each period, the role of propaganda is underlined and examined. The unbiased background the book supplies will allow users to gain an impartial perspective on events such as the Yugoslav War, the Kosovo War, ethnic cleansing, and the large population shifts these events brought about. UN and NATO informational performances in Bosnia and Kosovo are deeply scrutinized and compared during UNPROFOR, IFOR, SFOR, and KFOR missions. The resulting information war between NATO and Yugoslavia are also presented and analyzed. For scholars, historians, journalists, and anyone else who wishes to understand how to see through the information they are presented on war, Balkan Propaganda Wars will prove invaluable.

In this collection scholars, policymakers and military officials explore the conditions that gave rise to the Balkan wars in the 1990s, the application of international law to the wars the conduct of the wars, and post-war issues. The essays are based on presentations given at the International Conference on the Balkans held at Florida Atlantic University in February 2002. The contributors come from varied backgrounds, including international law, genocide studies, peacekeeping, European politics, communications, history and military studies.

First study of cinema, media and the Balkan wars; Wide-ranging view of politics and culture of the region; The break-up of Yugoslavia triggered a truly international film-making project. Underground, Ulysses' Gaze, Before the Rain, Pretty Village, Pretty Flame and Welcome to Sarajevo were amongst a host of films created as the conflicts in the region unravelled. These conflicts restored the Balkans as a centrepiece of Western imagery and the media (especially cinema) assumed a leading but ambiguous role in defining it for global consumption through a narrow range of selectively defined images. Simultaneously, a lot of the high-quality cinematic and television work made in the region (much of it discussed in this book) remains relatively unknown. Cinema of Flames attempts to go deeper than the imagery and address some of the general concerns of the cross-cultural representation and self-representation of the Balkans: narrative strategies within the context of Balkan exclusion from the European cultural sphere, the cosmopolitan image of Sarejevo, diaspora, and the representations of villains, victims, women, and ethnic minorities, all considered in the general context of Balkan cinema. 'encyclopaedic in scope and brilliance, making excellent use of the scholarly literature whilst interweaving analysis of films and other mass media. The book will be a superb addition to the literatures on Bosnia and Yugoslavia. It will also serve as a standard reference on Balkans film.' Robert Hayden (University of Pittsburgh)

Mirroring Europe offers refreshing insight into the ways Europe is imagined, negotiated and evoked in Balkan societies in the time of their accession to the European Union. Until now, visions of Europe from the southeast of the continent have been largely overlooked. By examining political and academic discourses, cultural performances, and memory practices, this collection destabilizes supposedly clear and firm division of the continent into East and West, ‘old’ and ‘new’ Europe, ‘Europe’ and ‘still-not-Europe’. The essays collected here show Europe to be a dynamic, multifaceted, contested idea built on values, images and metaphors that are widely shared across such geographic and ideological frontiers. Contributors are: Čarna Brković, Ildiko Erdei, Ana Hofman, Fabio Mattioli, Marijana Mitrović, Nermina Mujagić, Orlanda Obad, and Tanja Petrović.