Dubrovin V.L. Modern motion pictures and tv series as tools of soft power. In: Film and politics : edited book from the international scientific conference held on the 18th and 19th of March 2024 in Belgrade / editor Ivan Matić ; [translator Snežana Stanković]. - Belgrade : Institute for Political Studies, 2024 (Belgrade). - P. 189-199. DOI: 10.18485/ips_film_politics.2024.ch11.

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Dubrovin V.L. Modern motion pictures and tv series as tools of soft power. In: Film and politics : edited book from the international scientific conference held on the 18th and 19th of March 2024 in Belgrade / editor Ivan Matić ; [translator Snežana Stanković]. - Belgrade : Institute for Political Studies, 2024 (Belgrade). - P. 189-199. DOI: 10.18485/ips_film_politics.2024.ch11.

FILM AND POLITICS EDITOR’S FOREWORD ..................................................................9

THE POLITICAL ASPECTS OF FANTASY AND SCI-FI

Primož Krašovec
THE WORLD OF DUNE AS AN ALTERNATE FUTURE WITHOUT AI..................................................................................... 13

Nikola Tanasić
THEY SLAY DRAGONS, DON’T THEY? ON TAMING OF DRAGONS AND THE OBLIVION OF EVIL IN MODERN STORYTELLING ....................................................... 33

Ivan Matić
STAR WARS, FROM THE JUNGLES OF VIETNAM TO THE DESERTS OF IRAQ AND BEYOND.................................49

Isidora Novaković
THE PRINCE OF THE RINGS: CAN FILMS HELP US UNDERSTAND POLITICS?.......................65

FILM AS A TOOL OF GEOPOLITICS

Zoran Milošević
FILMS AND SERIES AS INSTRUMENTS OF GEOPOLITICS......83

Braco Kovačević
FILM AS SOFT POWER ................................................................. 105

Maryam Khaleghinezhad
CULTURAL PARADIPLOMACY CAPACITIES; CINEMA AND FILM: A STRATEGIC PERSPECTIVE IN CULTURAL RELATION AND CONVERGENCE; A CASE STUDY OF IRAN AND SERBIA......................................127

Miloš Jevtić
FILM AND RECONCILIATION: A CASE STUDY FROM THE REPUBLIC OF SOUTH AFRICA..143

Elena G. Ponomareva, Yevgeny V. Ryabinin
CINEMA AS A TOOL OF COGNITIVE WARFARE: THE CASE OF THE REPUBLIC OF SERBIA................................159

Eduard Anatolievich Popov
“KILL THE RUSSIAN... IN YOURSELF” IMAGES OF DONBASS, RUSSIA, AND RUSSIANS IN MODERN UKRAINIAN CINEMA............................................ 173

Vladimir Dubrovin
MODERN MOTION PISTURES AND TV SERIES AS TOOLS OF SOFT POWER.........................................................189

IDEOLOGICAL ASPECTS OF FILMMAKING

Rustem Vahitov
ARCHAIC MOTIVES IN MODERN CINEMATOGRAPHY......... 203

Aleksandar Matković
SOCIAL DEVIATIONS AND DEVIATIONS OF SOCIALISM: CRITICAL CINEMATOGRAPHY OF THE YUGOSLAV BLACK WAVE ................................................................................ 213

Andrey Baranov
FEATURE FILMS AND DOCUMENTARIES ON SOVIET HISTORY AS A MEANS OF CONSTRUCTING POLITICAL IDENTITY IN CONTEMPORARY RUSSIA...................................233

Natalya Belous, Elena Vakulina
THE FILM INDUSTRY AS A POLITICAL PERSUASION TECHNOLOGY ............................................................................... 247

Nenad Petrović
THE FILM “ALEXA DUNDIĆ” AS PART OF THE POLICY OF OVERCOMING THE CONFLICT OF THE FPR OF YUGOSLAVIA AND THE USSR........................255

Jelena Miljković Matić
ANTHROPOLOGICAL INTERPRETATION OF THE FILM “THEY LIVE” ..................................................................................265

Ivan Andreevich Ivannikov
THE POLITICAL AND IDEOLOGICAL ASPECT IN THE CINEMATOGRAPHY OF THE USSR AND THE RUSSIAN FEDERATION ON THE EXAMPLE OF FILMS ABOUT WAR....285

POLITICAL DOCUMENTARIES AND FILMMAKING

Marta Nešković, Hongyun Sun
SITU ZHAODUN’S LEGACY: AN ENDURING CONTRIBUTION TO SOCIO-CULTURAL CINEMATOGRAPHY...................................................................... 297

Vladan Stanković
OLIVER STONE’S POLITICAL CINEMA.....................................317

Tijana Perić Diligenski
ABUSE OF POWER THROUGH THE PRISM OF CONTEMPORARY POLITICAL CINEMA.............................. 333

Jelena Vujanović
THE FILM INDUSTRY AND ELECTION CAMPAIGNS..............347

Nikola Perišić
CRITIQUE OF SLOBODAN MILOŠEVIĆ’S RULE IN SERBIAN CINEMATOGRAPHY: A CASE STUDY OF THE FILM “THE PROFESSIONAL”........................................ 363

Aleksandra Vučković
CINEMATIC SELF-CRITICISM AS A METHOD OF JUSTIFICATION OF CONTEMPORARY POLITICS: THE CASE OF BARBIE AND OPPENHEIMER............................. 381

HISTORY THROUGHT THE LENS OF CINEMA

Hakan Yalap
SULEIMAN THE MAGNIFICENT AS A TV SERIES HERO: AN EMPEROR, A LOVER, A POET............................................... 401

Kirill Shevchenko
CZECH CINEMATOGRAPHY AS AN INSTRUMENT OF NAZI POLICY IN THE PROTECTORATE OF BOHEMIA AND MORAVIA IN 1939-1945 ...................................................... 409

Sanja Stošić
IDENTITARY SYMBOLS AND SPANISH CINEMATIC DISCOURSE – FROM FRANCOISM TO ALMODOVARIAN CINEMA .........................................................419

Sonja Višnjić Žižović
THUNDEROUS SILENCE – CHRISTIANITY AT THE TIME OF PERSECUTION IN JAPAN........................................................445

Matija Malešević
BETWEEN HISTORY AND DREAM: DECODING FELLINI’S “AND THE SHIP SAILS ON”................ 465

Dajana Lazarević
SCIENCE AND JOURNALISM COMBINED IN EXPOSING THE HIDDEN MESSAGES OF FILM............................................ 475