When the future or, more specifically, a redirection of South-East European studies is discussed in a series of essays in this journal, one has to have in mind that this is not the first discussion of this kind – and for sure not the concluding one. In an increasingly globalizing world, area studies are under permanent critical observation. What can particular findings related to an area contribute to the understanding of the whole, the global, and how is the global represented in the particularities of an area? However, this kind of critical self-reflection that can sometimes result in self-deprecation was not always the case in the long history of the study of South-East Europe.
1. Why could the French company Pathé dominate cinema business?
2. Why was movie production in the Balkans only little developed?
3. What was the interrelation between cinema and industrial modernity? 4. How can we best characterize cinema balkanica in its formative years?