![]() ![]() For Bosniaks (Bosnian Muslims), the date constitutes a dark reminder of the beginning of the 4-year-long genocide and ethnic cleansing committed against the non-Serb population of the region. On the 9th of January, Bosnian Serbs held a series of public celebrations to honour the 30th anniversary of their autonomous Serb Republic, proclaimed in 1992. While the country is no stranger to political turmoil and instability, the current situation is widely understood as the biggest existential threat Bosnia has faced since the end of the war in 1995. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License.Tensions are running high in Bosnia and Herzegovina, as Milorad Dodik, the Serb member of Bosnia’s tripartite Presidency, is taking bold steps towards secession. WR: Mysteries of the Organism/WR - Misterije organisma. Emir Kusturica, Cannon Films (USA), Artificial Eye (UK), 1985. When Father was Away on Business/Otac na služenom putu. Hajrudin “Šiba” Krvavac, Bosna Film, 1972. Walter Defends Sarajevo/Valter brani Sarajevo. New Yorker Films (USA), Artificial Eye (UK), Komuna (Yugoslavia), 1995. Underground: Once Upon a Time There Was a Country/ Podzemlje:Bila jednom jedna zemlja. Orfeo Films International, BFI Programme Unit/ICA Cinema (UK), 2001. Pretty Village, Pretty Flame/ Lepa sela, lepo gore. International Home Cinema (USA), Artificial Eye (UK), 1981. USA Films (USA), Artificial Eye (UK), Komuna (Yugoslavia), 1998.ĭo You Remember Dolly Bell?/Sjecašli se Dolly Bell?. United Artists, 1979.īlack Cat, White Cat/Crna macka, beli macor. ![]() "The Military-Poetic Complex.” London Review of Books, 30.16 (14 August 2008): 17.Īpocalypse Now. “The Two Totalitarianisms.” London Review of Books, 27.6 (17 March 2005): 8. “Multiculturalism, or, the Cultural Logic of Multinational Capitalism.” New Left Review (I) 225 (September/October 1997c): 37-40 “Underground, or Ethnic Cleansing as a Continuation of Poetry by Other Means.” InterCommunication, 18 (1997a) Washington D.C: The Brookings Institution, 1995. Balkan Tragedy: Chaos and Dissolution after the Cold War. “Walter Defends Sarajevo.” The Cinema of the Balkans. “The future of the past: film and the beginnings of postmodern history.” The Persistence of History: Cinema, Television and the Modern Event. “The Truth about Overidentification.” The Truth of Žižek. Interrogation Machine: Laibach and the NSK. “The Eighteenth Brumaire of Louis Bonaparte.” Surveys from Exile: Political Writings, Vol. The Destruction of Yugoslavia - Tracking the Break Up 1980-92. Stanford, California: Standford University Press, 2007. Disintegration in Frames: Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema. “My Imposture.” Le Monde 26 October 1995: 13 Shropshire, UK: Central Europe Review, 2000. “Showtime Brothers! A vision of the Bosnian war: Srdan Dragojevic’s Lepa sela, lepo gore.” The Celluloid Tinderbox: Yugoslav screen reflections of a turbulent decade. Krstic, Igor “Representing Yugoslavia? Emir Kusturica’s Underground and the Politics of Postmodern Cinematic Historiography.” Tijdschrift voor Mediageschiedenis. The Political Unconscious: Narrative as a Socially Symbolic Act. Cinema of Flames: Balkan Film, Culture and the Media. The Celluloid Tinderbox: Yugoslav screen reflections of a turbulent decade. Cambridge: Cambridge Scholars Press, 2007, pp. “Nationalism, Ideology and Balkan Cinema: Re-reading Kusturica’s Underground.” Did Somebody Say Ideology? Slavoj Žižek and Consequences. “Narratives of History, Narratives of Time.” On Jameson: From Postmodernism to Globalism. “The NATO Powers and the Balkan Tragedy.” New Left Review (I) 2234 ((March/April 1999): 83-105. Bloomington: Indiana University Press, 2002. Liberated Cinema: The Yugoslav Experience. Notes from the Underground: The Cinema of Emir Kusturica. “The Dream Propaganda of Emir Kusturica.” Liberation 30 October 1995: 7 “Kusturica’s Imposture.” Le Monde 2 June 1995: 16 Balkan as Metaphor: Between Globalization and Fragmentation Cambridge, Mass: MIT Press, 2005.įinkielkraut, Alain. “Global aesthetics and Serbian cinema in the 1990s.” East European Cinemas. See Šešic (2006) for a discussion of Walter Defend Sarajevo and Levi 64-67 for an analysis of the New Primitivs’ interest in the film.ījelic, Dušan I.
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