Although an attempt is made to geographically define and place the Balkans at the beginning of the master's thesis, the emphasis will be on the imaginative, ideological, i.e. socially constructed concept of the Balkans and its deconstruction through films. Orientalism and related Balkanism, (self)stereotyping, (self)balkanization and other concepts will be defined and explained in detail. The Balkans were more than just a geographical concept from the beginning of its use. The Balkans are inherently associated with negative connotations such as violence, rudeness, primitivism, and so on. After defining the complexities of the concept and space of the Balkans, both geographical and cultural, the goal is to critically approach film analysis and thus perceive the image of the Balkans offered to a wider audience through films made after 1990. We will try to reveal the differences and/or similarities between the internal and external perceptions of the Balkans primarily through the use of semiology as a method of approaching film analysis. Furthermore, there will be a focus on representation and comparative analysis, which are considered as powerful tools for film studies. This will be followed by an analysis of films that depict the issue of (self)stereotyping and (self)balkanization. We will try to figure out what the Western image of the Balkans is by analyzing the films Welcome to Sarajevo and Harrison's Flowers. At the same time, we will discuss the representation of the Balkans by domestic directors in the well-known films Underground, Cabaret Balkan, and No Man's Land. Finally, we will try to draw parallels and point out the main differences between these two (re)presentations.
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