Mapping experimental cinema in the ‘grey zone’

Abstract

in the region, contributing to further ‘the institutionalization and affirmation of cinema activities’ and leading ‘a number of local film pioneers to invest in film equipment and effectively start producing their own films’ (193). In Chapter 4 like in Chapter 5 however, a filmography would have helped the reader to embrace the studied phenomena (even if, as the author has explained, a general panorama cannot be reached) and distinguish at the same time the cinematographic processes involving different territories. Nonetheless, Chapter 5 also connects cinema exhibition with film shooting very interestingly: Grgić highlights the filming activities of some travelling as well as sedentary exhibitors in the region and, conversely, she also provides information on the diffusion of moving images shot locally. To conclude, this ‘inclusive’ dimension of Grgić’s book, consisting in the combination of moving images’ formal analysis and films’ cultural circulations, significantly contributes to making Early Cinema, Modernity and Visual Culture a successful attempt in the field of cultural cinema history.