Aleksandra Milovanović was born in Belgrade, Serbia in 1975. She holds a BA in Film & TV Editing from the Faculty of Drama Arts in Belgrade. At the same faculty she finished her Master’s thesis on Space Outside The Film Frame and The Reception of Film: A Theoretical Model and PhD thesis titled Models of Narration In The Genre: Film Genres and Genres of Television Series. She published a book Imaginary Field of Film Image, Cognition and Interpretation in 2011. She is a member of NECS – European Network for Cinema and Media Studies. She has participated in workshops and conferences with papers: Genre-hybridization and Cross-media Narratives (Belgrade, 2011), Blurred Boundaries of Contemporary: Television Series and Serials Four Stages of Development (Lisbon, 2012), Unusual Films/Views of the Balkans (Romania, 2012), From Spectatorial Culture To Participatory Culture: Convergence and Complementarity of Contemporary Media (Belgrade, 2012), Off-screen Space and Screen Sizes, Construction, Reception, Cognition and Interpretation (Amserdam, 2012), Screens – Media – Culture: Size and Mobility of Screens in Contemporary Culture and Media (Belgrade, 2013) and Echoes of Euro-Americanization in The Image of Youth in Contemporary Serbian Cinema (Prague, 2013).
In addition to her academic work she has extensive experience editing high-profile documentary films and TV series. Prominent among these are feature documentaries Abduction (Ivan Markov, 2003), Srbija in the trashcan (Janko Baljak, 2003), Vukovar, Final Cut (Janko Baljak, 2006), Cinema Komunisto (Mila Turajlić, 2011); highly-rated docu series including the hardhitting Who killed Anta Markovic (10-part series) and entertaining All that folk (8-part series) and she regularly edits the most successful political investigative program on national television Insajder (Serbia’s equivalent to 60 Minutes). She works as an editor at national broadcaster TV B92 and since 2000 she has been a Teaching Assistant at the Faculty of Dramatic Arts in the Film History Department, lecturing on both film history and film theory. |
