Tanja Jurkovic
University of Huddersfield Music and Music Technology Post Doc Applicant (application stage)
Doctorate in Film, Television, and Media Studies, University of East Anglia, UK
Research in Balkan Cinema and Horror Genre
Research Interests:
Film, TV, Media, Metal Music Studies, Digital Marketing, Grand Guignol, Video Game Development, Film Production
Module Organiser and Tutor in Investigating Audiences and Reception (Film and Media Studies)
AT in Analysing Film
AT in Film Theory, UEA
AT in World Cinemas, UEA
Teaching workshops for EAFA (East Anglian Film Archive), UEA, Norwich
Teaching workshops for Outreach, UEA
BA and MA in English and French, University of Zadar, Croatia
Supervisors: Mark Jancovich, Rayna Denison, and Richard Hand
Doctorate in Film, Television, and Media Studies, University of East Anglia, UK
Research in Balkan Cinema and Horror Genre
Research Interests:
Film, TV, Media, Metal Music Studies, Digital Marketing, Grand Guignol, Video Game Development, Film Production
Module Organiser and Tutor in Investigating Audiences and Reception (Film and Media Studies)
AT in Analysing Film
AT in Film Theory, UEA
AT in World Cinemas, UEA
Teaching workshops for EAFA (East Anglian Film Archive), UEA, Norwich
Teaching workshops for Outreach, UEA
BA and MA in English and French, University of Zadar, Croatia
Supervisors: Mark Jancovich, Rayna Denison, and Richard Hand
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More recent example of using Grand Guignol in this way is Showtime’s series Penny Dreadful (2014 - 2016), created by John Logan. From its first season, the series made clear that its creator’s intention was to reimagine the classical characters of Gothic literature and reintroduce them to the new generations as contemporary monsters that still have much to offer. Apart from the characters mentioned, Penny Dreadful series also tries to reimagine the controversial French theatre, Grand Guignol (1897 - 1962) and adapt it to the contemporary storyline of the Gothic, represented in the series. Although solely reimagined as space throughout the first couple of seasons of the series, that serves as a prop for the development of the characters’ stories, I would argue that the representation of Grand Guignol in Penny Dreadful Demimonde bears much more significance than simply being a space for the characters to dwell in; it subtly develops into a monstrous character of its own, serving more as an agent for the characters’ actions rather than just being a stage space where these actions occur.
Up to date work on the genre, for example, has shown how categorizations of the genre can vary between countries and different periods of time (See: Jancovich, Mittel, Altman). One of the notable examples to support this statement are films made in Yugoslavia that look like horror today, specifically films from the prominent Serbian director Dorđe Kadijević’s film cycle, might not have been understood as horror at all, during the turbulent times when they were filmed.
Surely, this might either be due to the change in historical and cultural perceptions that occurred at the time, or perhaps due to importation of foreign generic categories. Nevertheless, horror as a genre in the Balkans, especially in Croatia and Serbia, seems to be rising from its grave, especially in contemporary terms; filmmakers play with the exploitation notions of the genre, demonic possessions based on true stories etc., often depicting current social, political and cultural differences and concerns in the process.
This paper will examine those social, political and cultural changes in Former Yugoslavia and after its fall, changes that occurred due to turbulent times that were depicted through the medium of film and the continuing consequences of those changes today, how they coincided with the emergence of contemporary horror genre films in Croatia and Serbia, most notably, in order to try and explain the current state of affairs in both aforementioned countries.
Available here: https://igapostgrads.blogspot.com/2016/06/balkan-horror-film-story-so-far-posted.html?q=tanja+jurkovic
Paper/presentation will be available soon!
Paper/presentation will be available soon!
Paper/presentation will be available soon!
Paper/presentation will be available soon!
Paper/presentation will be available soon!
The paper will be available soon!
Paper/presentation will be available soon!
More recent example of using Grand Guignol in this way is Showtime’s series Penny Dreadful (2014 - 2016), created by John Logan. From its first season, the series made clear that its creator’s intention was to reimagine the classical characters of Gothic literature and reintroduce them to the new generations as contemporary monsters that still have much to offer. Apart from the characters mentioned, Penny Dreadful series also tries to reimagine the controversial French theatre, Grand Guignol (1897 - 1962) and adapt it to the contemporary storyline of the Gothic, represented in the series. Although solely reimagined as space throughout the first couple of seasons of the series, that serves as a prop for the development of the characters’ stories, I would argue that the representation of Grand Guignol in Penny Dreadful Demimonde bears much more significance than simply being a space for the characters to dwell in; it subtly develops into a monstrous character of its own, serving more as an agent for the characters’ actions rather than just being a stage space where these actions occur.
Up to date work on the genre, for example, has shown how categorizations of the genre can vary between countries and different periods of time (See: Jancovich, Mittel, Altman). One of the notable examples to support this statement are films made in Yugoslavia that look like horror today, specifically films from the prominent Serbian director Dorđe Kadijević’s film cycle, might not have been understood as horror at all, during the turbulent times when they were filmed.
Surely, this might either be due to the change in historical and cultural perceptions that occurred at the time, or perhaps due to importation of foreign generic categories. Nevertheless, horror as a genre in the Balkans, especially in Croatia and Serbia, seems to be rising from its grave, especially in contemporary terms; filmmakers play with the exploitation notions of the genre, demonic possessions based on true stories etc., often depicting current social, political and cultural differences and concerns in the process.
This paper will examine those social, political and cultural changes in Former Yugoslavia and after its fall, changes that occurred due to turbulent times that were depicted through the medium of film and the continuing consequences of those changes today, how they coincided with the emergence of contemporary horror genre films in Croatia and Serbia, most notably, in order to try and explain the current state of affairs in both aforementioned countries.
Available here: https://igapostgrads.blogspot.com/2016/06/balkan-horror-film-story-so-far-posted.html?q=tanja+jurkovic
Available here: https://igapostgrads.blogspot.com/2016/06/into-unknown-rich-heritage-of-balkan.html?q=into+the+unknown
Available here: https://igapostgrads.blogspot.com/2016/06/horror-film-in-balkans-introduction-to.html?q=horror+film+in+the+balkans
Available here: http://tinyurl.com/q9kw4mb
Available here: http://tinyurl.com/amzy9sj
Reimagining the Gothic: Gothic Spaces Symposium and Showcase Event, University of Sheffield, Sheffield, 12 – 13th May, 2017
Promises of Monsters Conference, Stavanger, Norway, 28-29th April, 2016