Dijana Jelača
Biographic Data
| ID | 146399 |
|---|---|
| NAME | Dijana Jelača |
| GIVEN NAMES | Dijana |
| FAMILY NAME | Jelača |
| SIGNATURE | JELAČA D |
| AFFILIATIONS | Fordham University |
| ORCID | 0000-0002-9132-7601 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 3 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Affect's Social Lives
Why is the talk about Yugoslavia still emotionally charged and situated in the registers of passion, pain, sentimental recollections, or nostalgia even 30 years after its violent dissolution? How is the sphere of the affective, sensory, and embodied fundamental to understanding the historical project of Yugoslavia and its afterlives? Social Lives of Affect: Post-Yugoslav Reflections addresses these questions and explores how the attempts to conce…
Witnessing Women
The essay explores how two women filmmakers, each deploying her unique vision through the perspective of a female protagonist, stage a transformative encounter with the act of bearing witness to genocide. The Diary of Diana B. ( Dnevnik Diane Budisavljević , 2019, Croatia) directed by Dana Budisavljević, and Quo Vadis, Aida? (2020, Bosnia-Herzegovina), directed by Jasmila Žbanić, both compel us to bear witness to mass atrocities while avoiding th…
The Future of (Post)Socialism
Alien Feminisms and Cinema's Posthuman Women
In this essay, I ask how we can chart new feminist epistemologies around the figure of the posthuman woman. To explore how the posthuman female body is situated as a site of ontological and epistemological struggle around feminism, femininity, and subjectivity in contemporary screen culture, I examine two recent films about alien/cyborg posthuman female entities: Jonathan Glazer’s 2013 Under the Skin and Alex Garland’s 2015 Ex Machina. Both films…
The Cultural Life of Capitalism in Yugoslavia
Teaching transnational cinema
The transnational turn has steadily become one of the liveliest and politically most urgent paradigms in the current landscape of film and media studies, one particularly susceptible to a variety o
The Routledge Companion to Cinema & Gender
Critical explorations of the relationship between Islam, cinema, and women contribute to academic debates around difference. This connection may be approached from different perspectives. One may think about the concept of representation in examining this topic: how are women represented in films produced in countries where Islam is the dominant religion? How do Islamic films represent women? Or, how do filmmakers who define themselves as Muslim …
Routledge Companion to Cinema and Gender
Women’s cinema of trauma
This article analyses several notable examples of what the author calls the post-Yugoslav women’s cinema of trauma. These films made by women filmmakers challenge the standard tropes of war, as well as normative approaches to war cinema, by highlighting the intimate affective domain of experience, rather than large-scale narratives and collective emotions. The author focuses on the near-silent short and experimental works of Una Gunjak and Šejla …
Feminine Libidinal Entrepreneurship
This essay examines the upward mobility appeal of Serbia's post-socialist feminine libidinal entrepreneurship rooted in the figure of the sponzoruša (“sponsored woman”), and closely tied to the aesthetics of turbo folk. Contrary to the dominant critical dismissal of the phenomenon as inherently anti-feminist, the sponzoruša figure has the potential to reveal deeply contradictory tendencies of popular culture: to both reaffirm and transgress some …
The Girl-Child, the Outlaw, and the Land/Woman
Through three separate-yet-connected instances of spectatorial re-appropriation of the Western cinematic iconicity, I explore how the genre framed an understanding of a war that is not only geographically but also historically and politically far away from the Western's American home culture. The war in question is one that broke the country of Yugoslavia apart at the end of the 20th century (a century that is, incidentally, also known as the cen…
Between Mothers and Daughters
Adoption is often used as a tool, both literally and figuratively, for a fantasy of rescue — and therefore it is a suitable device for normativizing parenting, particularly mothering, as a measure of moral nobility. In this article, the contested nature of prominent cultural depictions of motherhood, especially as they pertain to the question of race, is juxtaposed with the form of the oppositional gaze represented in two adoption documentary fil…
Feminine Libidinal Entrepreneurship
This essay examines the upward mobility appeal of Serbia's post-socialist feminine libidinal entrepreneurship rooted in the figure of the sponzoruša (“sponsored woman”), and closely tied to the aesthetics of turbo folk. Contrary to the dominant critical dismissal of the phenomenon as inherently anti-feminist, the sponzoruša figure has the potential to reveal deeply contradictory tendencies of popular culture: to both reaffirm and transgress some …
Alien Feminisms and Cinema's Posthuman Women
In this essay, I ask how we can chart new feminist epistemologies around the figure of the posthuman woman. To explore how the posthuman female body is situated as a site of ontological and epistemological struggle around feminism, femininity, and subjectivity in contemporary screen culture, I examine two recent films about alien/cyborg posthuman female entities: Jonathan Glazer’s 2013 Under the Skin and Alex Garland’s 2015 Ex Machina. Both films…
Between Mothers and Daughters
Adoption is often used as a tool, both literally and figuratively, for a fantasy of rescue — and therefore it is a suitable device for normativizing parenting, particularly mothering, as a measure of moral nobility. In this article, the contested nature of prominent cultural depictions of motherhood, especially as they pertain to the question of race, is juxtaposed with the form of the oppositional gaze represented in two adoption documentary fil…
Feminine Libidinal Entrepreneurship
This essay examines the upward mobility appeal of Serbia's post-socialist feminine libidinal entrepreneurship rooted in the figure of the sponzoruša (“sponsored woman”), and closely tied to the aesthetics of turbo folk. Contrary to the dominant critical dismissal of the phenomenon as inherently anti-feminist, the sponzoruša figure has the potential to reveal deeply contradictory tendencies of popular culture: to both reaffirm and transgress some …
The Girl-Child, the Outlaw, and the Land/Woman
Through three separate-yet-connected instances of spectatorial re-appropriation of the Western cinematic iconicity, I explore how the genre framed an understanding of a war that is not only geographically but also historically and politically far away from the Western's American home culture. The war in question is one that broke the country of Yugoslavia apart at the end of the 20th century (a century that is, incidentally, also known as the cen…
The Routledge Companion to Cinema & Gender
Critical explorations of the relationship between Islam, cinema, and women contribute to academic debates around difference. This connection may be approached from different perspectives. One may think about the concept of representation in examining this topic: how are women represented in films produced in countries where Islam is the dominant religion? How do Islamic films represent women? Or, how do filmmakers who define themselves as Muslim …
Routledge Companion to Cinema and Gender
Women’s cinema of trauma
This article analyses several notable examples of what the author calls the post-Yugoslav women’s cinema of trauma. These films made by women filmmakers challenge the standard tropes of war, as well as normative approaches to war cinema, by highlighting the intimate affective domain of experience, rather than large-scale narratives and collective emotions. The author focuses on the near-silent short and experimental works of Una Gunjak and Šejla …
The Cultural Life of Capitalism in Yugoslavia
Teaching transnational cinema
The transnational turn has steadily become one of the liveliest and politically most urgent paradigms in the current landscape of film and media studies, one particularly susceptible to a variety o
The Future of (Post)Socialism
Alien Feminisms and Cinema's Posthuman Women
In this essay, I ask how we can chart new feminist epistemologies around the figure of the posthuman woman. To explore how the posthuman female body is situated as a site of ontological and epistemological struggle around feminism, femininity, and subjectivity in contemporary screen culture, I examine two recent films about alien/cyborg posthuman female entities: Jonathan Glazer’s 2013 Under the Skin and Alex Garland’s 2015 Ex Machina. Both films…
Witnessing Women
The essay explores how two women filmmakers, each deploying her unique vision through the perspective of a female protagonist, stage a transformative encounter with the act of bearing witness to genocide. The Diary of Diana B. ( Dnevnik Diane Budisavljević , 2019, Croatia) directed by Dana Budisavljević, and Quo Vadis, Aida? (2020, Bosnia-Herzegovina), directed by Jasmila Žbanić, both compel us to bear witness to mass atrocities while avoiding th…
Affect's Social Lives
Why is the talk about Yugoslavia still emotionally charged and situated in the registers of passion, pain, sentimental recollections, or nostalgia even 30 years after its violent dissolution? How is the sphere of the affective, sensory, and embodied fundamental to understanding the historical project of Yugoslavia and its afterlives? Social Lives of Affect: Post-Yugoslav Reflections addresses these questions and explores how the attempts to conce…
Sociology (9 works) · Art (6 works) · Aesthetics (5 works) · Balkans: History, Politics, Society (5 works) · Law (5 works) · Movie theater (5 works) · Political science (5 works) · Gender Studies (4 works) · Media studies (4 works) · Cinema and Media Studies (3 works)