2003-2004 Fourth Annual Mozart Birthday Concert

https://spiral.lynn.edu/conservatory_otherseasonalconcerts/1056/thumbnail.jp

2004-2005 Fifth Annual Mozart Birthday Concert

https://spiral.lynn.edu/conservatory_otherseasonalconcerts/1048/thumbnail.jp

2004-2005 Special Recital: A Presentation for Huntington Lakes

https://spiral.lynn.edu/conservatory_otherseasonalconcerts/1046/thumbnail.jp

2004-2005 Dean\u27s Showcase No. 2

https://spiral.lynn.edu/conservatory_deansshowcase/1050/thumbnail.jp

2003-2004 An Evening of Musical Sharing & Caring

Best Buddies Benefit Concerthttps://spiral.lynn.edu/conservatory_otherseasonalconcerts/1055/thumbnail.jp

The image of the Balkans as portrayed in Balkan cinema.

Literature, media, cinema can have a great impact on our (self-) perceptions. The production of images is not an accidental enterprise. Images have certain meaning and purpose. They have the ability to influence policy-making, justify social and economical order, etc. The process of image-building, its significance and consequence in relation to the Balkan region has been widely discussed in academic literature. The discourse on the Balkans or Balkanism is regarded as Western way for dominating the region. I will try to switch the perspective here and focus on how the Balkans themselves respond to the discourse and to what extend they‟re part of its formation. I suggest that the Balkans have their own mechanisms for dealing with the negative images imposed on them. When it comes to discourse formation, image construction and their exploitation, I believe, it is far more complicated than a monologue from the part of the hegemonic side and instead there is an internal dynamics and exchange between the different parties. In order to trace certain versions of reception, and especially the possibility for resistance, I will examine the case cinematographic production originating from the region and how it approaches the issue of self representation. At first I will present the essence of the discourse and how it applies when one switches the point of view from within the Balkans. In the second part of my work I will focus on the expressions of Balkanism or Self-Balkanism in local cinema focusing mainly on the film Underground of the director Emir Kusturica as an exemplary case