murtic_notes and biblio

8/17/2019 Murtic_notes and Biblio

1/28

180

1 Theoretical and Methodological Considerations

1. According to Kellner (2010, p. 43) the term ‘cinema’ has richer connotations

than ‘film’, as cinema refers to ‘the system of production, distributional,

reception, as well as the genres, styles and aesthetics’. Thus from now on,by following Kellner’s logic, I will use film and cinema interchangeably to

describe past and contemporary cinema in Western Balkans.

2. I am referring here to Foucault’s essay ‘What is an Author?’ (1994) and

Barthes’ essay ‘The Death of Author’ (1977).

2 Once Upon a Time in Sarajevo

1. See Chapter 3 for further discussion of this issue.

2. he Sarajevo Haggadah is an illuminated manuscript that contains the illus-trated traditional text of the Passover Haggadah which accompanies the

Passover Seder. It is one of the oldest Sephardic Haggadahs in the world, origi-

nating from Spain. The Haggadah is presently owned by the Bosnian National

Museum in Sarajevo, where it is on permanent display.3. Kusturica’s TV films are Nevjeste dolaze/The brides are coming (Kusturica 1978) and

Bife Titanik/Buffet Titanic (1979). I will briefly discuss Buffet Titanic in Chapter 6.4. Cvijetin Mijatovic (1913–1992) became the first President of the joint

Yugoslav Presidency after Tito’s death in May 1980. He presided over theYugoslav Presidency for one year.

3 An Historical Fable of a Country That Is No More

1. Janaki (1878–1954) and Milton (1882–1964) Manaki are considered to be theBalkans’ pioneering filmmakers. They were born in the land that is part of

Macedonia today and their ethnic origin is Vlach—a minority group that stilllives in mountainous parts of Bulgaria, Greece, Serbia, Kosovo and Macedonia.

The brothers spent most of their productive life in the Macedonian town ofBitola, where they owned a photographic studio and cinema theatre. After

their death, the impressive archive of their static and moving images was

deposited in the Macedonian film archive. The annual Manaki BrothersInternational Film Camera Festival, commemorating them, is held in Bitola.

The two scenes I discuss are from the film pinning Women in Avdela and can

be seen on YouTube: http://www.youtube.com/watch?v=1jnoC3MQqVY.2. See Chapter 5 for more insight into Ulysses’ Gaze.3. For the film’s script, Kusturica collaborated with Dusan Kovacevic; a leading

Serbian scriptwriter. As was case with his previous films, Kusturica workedclosely with the playwright; and the script was credited to both (Iordanova

2002, p. 75).

Notes


2/28

Notes 181

4. Zeljko Raznjatovic (Arkan) was a criminal figure who turned into a high-profile Serbian warlord whose paramilitary units were responsible for one of

the most gruesome crimes against non-Serb civilians during the conflict in

Croatia and Bosnia-Herzegovina. In 1999, the ICTY issued a warrant for his

arrest and charged him with crimes against humanity. He never faced trial,as he was assassinated by a member of Belgrade’s underworld in 2000.

5. The last Yugoslav census in 1981 showed that Albanians were the fourth largestethnic/national group. Numerically, only Serbs, Croats and (Slavic) Muslims

had a larger population than the Albanians. The number of Slovenes was

almost equal to the number of Albanians. The Macedonians and Montenegrinshad smaller populations than the Albanians (Hodson et al. 1994).

6. The Tito-Stalin Split was a conflict between the leaders of Socialist Federal

Republic of Yugoslavia and the USSR, which resulted in Yugoslavia’s expul-sion from the Communist Information Bureau in 1948. For further informa-

tion regarding this topic see Perovic (2007).7. In the article ‘Tito’s default’, particular segments of which I am either para-

phrasing or citing here, despite his overall argument, which is in general

favourable towards Tito and his historical role, Perisic does not forget tomention the crimes committed in the name of Communism in Yugoslavia.

Most noticeably, Perisic underlines the execution of Ustasa and Chetnik war

prisoners, the harassment and forced expulsion of the Austrian, German,Italian and Hungarian minorities immediate after the end of World War II,

the persecution of Stalin’s supporters after the split between Tito and Stalin

in 1948, and the harassment and persecution of political dissidents.

8 John Paul Driscoll was a documentary filmmaker based in New Orleans. Hecollected the material for the article I cite here while shooting an educational

film about Yugoslavia.9. The best-known filmmaker within the Black Wave movement was Dusan

Makavajev. Other prominent filmmakers within the movement were Jovan Jovanovic, Lazar Stojanovic, Zivojin Pavlovic, Bata Cengic, Krsto Papic and

Zelimir Zilnik. For further reading about the Yugoslav Black Wave cinema see

DeCuir (2011).10. I will pay closer attention to the genre of partisan film in Chapter 4.

11. Bulajic’s partisan film Bitka na Neretvi/Battle for Neretva (1969) was nomi-nated for an Oscar in the category for best non-English film in 1970.

12. In his semi-biographical novel mrt je neprovjerena glasina (2010), Kusturicadescribes Siba (Hajrudin) Krvavac as a close family friend and person who

had had a prevailing influence on his decision to become a filmmaker.13. As a term, ‘anti-bureaucratic revolution’ refers to a series of carefully-

orchestrated mass protests against the governments of the Yugoslavian

republics and autonomous provinces during 1988 and 1989, which led tothe resignations of the leaderships of Kosovo, Vojvodina and Montenegro

and the consequent capture of power by politicians loyal to Slobodan

Milosevic. For further reading see Vladisavljecic (2008).

4 Ordinary Men at War

1. For centuries, the gusle had been the most popular folk instrument in Serbia,

Montenegro, Macedonia, Bosnia and Herzegovina, and southern parts of


3/28

182 Notes

Croatia. This musical instrument was played and appreciated by all ethnicgroups living in these territories. However, all but the Serbs and Montenegrins

abandoned the gusle in the late 1980s. The reason for this sudden rejection,

according to Zanic (1998), lies in the fact that the gusle, due to its prominent

presence in Serbian nationalistic discourse of the time, became an exclusive sig-nifier for the Serbian cultural domain. Nowadays, it is almost impossible to see,

hear or read about the gusle in areas dominated by Croats or Bosnian Muslims.2. Vuk Stefanovic Karadzic (1787–1864) is considered as one of the most impor-

tant reformers of the Serbian language. He was also a passionate collector and

promoter of the Serbian folk tradition.3. The 1990s Yugoslav wars were not the first conflict to adopt ‘Rambo style

insignia’. As Kellner (1995) writes, in 1985 worn-torn El Salvador, some sol-

diers and officers had worn the same ‘bandanna-style headgear as the beefy,bare breasted Rambo’.

4. Amongst numerous awards, No Man’s Land won the Academy Award for thebest foreign film in 2002. Ordinary People was winner of the prestigious Critics’Week award in Cannes for 2009. In the same year, Ordinary People was theoverall winner at the Sarajevo Film Festival.

5 Women Speak after the War

1. See Chapter 3 for additional notes about the Manaki brothers.

2. On average, prior to the first multi-party elections, twenty to twenty-five

per cent of Yugoslav (republican) parliamentarians were women (see Djuric-Kuzmanovic et al. 2008, p. 287)

3. See Chapters 3 and 6 for further insights on the Ustase and Chetniks. 4. I mention the Tito-Stalin split in Chapter 3.

5. Both Christine A. Maier and Barbara Albert worked on Zbanic’s second featurefilm, On the Path (2010), which had its premiere at the 2010 Berlin Film Festival.

6. This news announcement was not subtitled in English in Grbavica’s DVD forEnglish-speaking countries.

7. In 2008, the central Sarajevo square, facing the Bosnian National Theatre,

was named after Susan Sontag.

8. For further reading on the turbo-folk music phenomena in the WesternBalkans see Baker (2007). See also Kronja (2004).

9. Ilahi is a Muslim religious song which content primarily magnifies the

ower of God. Ilahi lyrics also offer the unconditional love for God on behalfof the performer/singer.

10. Belgrade’s International Film Festival (FEST) is an annual event, usually

scheduled for the end of February. The decision to screen Grbavica at thethirty-fourth FEST in 2006 was initiated by human rights activists from

Serbia, and the publicity Zbanic’s debut had gained after the award at the

Berlin Film Festival.11. The Serbian Radical Party (Srpska Radikalna Stranka) is an ultra-nationalist

arty which in 2006 held a significant number of seats in the SerbianParliament. Its founder is Dr Vojislav Seselj, whose trial at the ICTY is now

in progress.

12. ‘Anti-Serbian propaganda’ is not a strong enough expression for explainingthe verbal attacks on Karanovic. In obscure tabloids and threatening letters


4/28

Notes 183

sent to the actress she was depicted in terms ranging from the ‘Turkishwhore’, to the ‘ugly woman turned lesbian because she is undesirable to

men’ (see Svet 2006, no. 454; Zbanic 2006, LA Times 14 April).13. See Chapter 4 for further insights into Pretty Village, Pretty Flame.

6 Roma: The Other in the Other

1. Even if the English-speaking readership of this book may be more familiar with

the word ‘Gypsy’, I am insisting on naming these people the Roma or Romani.

The reasons are numerous. First and foremost, it was the legitimate decisionby the Roma elite. In April 1971 in London, during the first World Romani

Congress, delegates from all over Europe adopted the term Roma to describe

themselves (Fraser 1992, p. 317). Second, while the term ‘Gypsy’ has become

so pervasive that some Romani associations use it in their own organisationalnames, this word still has pejorative connotations in English-speaking socie-ties. The idiom ‘to gyp’, often used in the United States, describes a particular

lifestyle related to stealing or deceiving. Perhaps, many Americans do not

know that the etymon gyp originates from the word Gypsy. The apparentlynon-racist, yet persistent, use of the expression ‘to gyp’ in American colloquial

English does not make it any less wrong. In the end, ‘gyp’ does signify a whole

ethnic group as ‘cheaters’. In times which are behind us, some (previously)oppressed groups such as Jews, Irish or African Americans, either through

political, cultural or lobbying activities, managed to expel related offensive

terms from use in everyday language. The Roma community still does nothave this potential. The equivalent for the English word ‘Gypsy’ in South

Slavic languages is Cigan (pronounced as Tzigan). The acute misuse of this

term in former Yugoslavia shows up in a passage of the Anti-discriminationAct 1971, which specifically prohibits the word Cigan, considering it offensive

(Memedova et al. 2005, pp. 48–49). Then, in Romania in 2010, the Romawere tried to be redefined as Tzigani by the state parliament in an effort to

prevent using Romani as the official term because it could be confused with

Romanian. The Romanian general public initiated this redefinition due to theunprecedented fury over a French sports journalist who labelled the Romanian

national soccer team ‘Gittano (Gypsy) virtuosos’. Further embarrassment on

behalf of Romanians and their politicians was interrupted by the Romanianupper house, the Senate, which rejected the proposal. I will use the terms

Roma and Romani interchangeably, except when referring to the original work

from the authors. The word ‘roma’ is derived from the word ‘rom’, whichmeans human being/man in the Romani language(s). In the English language,

Romani is an adjective that can also be a noun.

2. ‘Porrajmos’ is a Romani word symbolically equal to the meaning of the wordHolocaust.

3. See Chapter 2 for further discussion of The Scent of Quinces. 4. For further reading regarding Jews living in contemporary Sarajevo seeMarkowitz, F. (2010) Sarajevo: A Bosnian Kaleidoscope, University of IllinoisPress, Chicago.

5. Tisa (played by Gordana Jovanovic) is the only leading actor in Petrovic’s

film who is of Romani origin. Bekim Fehmi (Bora) is an Albanian from

Kosovo, while Bata Zivojinovic (Mirta) and Olivera Vuco (Lenka) are Serbs.


5/28

184 Notes

While Fehmi, Zivojinovic and Vuco have had colourful careers either intheatre or cinema, Jovanovic only appeared twice: in Petrovic’s film It Rainsin My Village (1977) and ten years later in Guardian Angel (Paskaljevic 1987).Both roles were small.

6. For an interesting introductory discussion on the all-European stereotypicalportrait of Roma in cinema see: Pasqualino, C. (2008) ‘The Gypsies, Poor but

Happy’, hird Text , vol.22, no.3, pp. 337–345. 7. These two memorable roles in Sijan’s film are played by cousins Miodrag and

Nenad Kostic.

8. According to Croatian writer and publicist Zoran Zmiric (2005), there isone interesting connection between Sijan’s Who is Singing Out There? andKusturica’s Underground . Originally, the last scene in Who is Singing OutThere—where the bus, upon its arrival in Belgrade, is destroyed by a Naziair raid—was supposed to have a massive animal escape from the Belgrade

zoo. However, due the death of Tito, the Yugoslav borders remained shotdown for a period of time and the animals, owned by an Italian circus, were

not delivered to the film’s set. Fifteen years later, the scene with animals

escaping from Belgrade zoo is revived in Kusturica’s Underground. This timethe animals are used for the opening scene. But they still mark the German

bombardment of Belgrade in the early hours of 6 April 1941.

9. As Kusturica’s and Paskaljevic’s films have been written on extensively before(see Iordanova 2001, 2002; Gocic 2001), I am not paying close attention to

them in this chapter.

10. St George’s Day (Herdalejzi in the Romani language or Djurdjevdan in South

Slavic languages) is the most significant holiday for the Balkans’ Roma of allfaiths. Herdalejzi is originally an Orthodox Christian holiday that has been

incorporated into Romani communities regardless of their religion, and iscelebrated in a manner particular to that community.

11. Both the Macedonian Cinema Information Centre and the Internet MovieDatabase (IMDB), refer to the film’s title only in the English language.

12. In the Balkans, this tradition is not strictly related to Roma. Marko Vesovic, a

poet and literary professor at Sarajevo University of Montenegrin OrthodoxChristian origin, recalls his childhood trauma with bitterness. On the day

of his mother’s funeral, he was forced by his uncles to take care of the food

cooked for the funeral’s guests.13. By and large, most Dervishes and their numerous Dervish orders are Sunni

Muslims who follow Sufi teaching, a mystic stream of Islam.

14. The Guca Trumpet Festival is a three-day feast of brass music with a forty-year tradition. It is an annual festival located in the south Serbian town of

Guca.

15. Kusturica was accused of stereotypical presentation of Roma. The Romacouncil of Europe wrote a protest letter to the UN, who was the sponsor of

the project.

16. Kosovo has been recognised by the US, United Kingdom, Germany, France,Italy, Holland, Croatia, Bulgaria, Turkey, etc. However, Russia, Spain, China

and number of other states have not recognised Kosovo’s de facto independ-ence from Serbia.

17. ‘Mouse’ is slang originating from Sarajevo. It describes a coward or extremely

unpopular person.


6/28

Notes 185

18. I wrote briefly about this medieval event, deeply embedded in Serbian publicdiscourse, in Chapter 3.

19. Radio and television/RTV b92 are Belgrade-based media best known for their

criticism of everyday political norms during Milosevic’s era.

20. As the only Nobel Prize Laureate from the former Yugoslavia, Andric and hisprose have been the topic of numerous scholarly articles and essays, both in

English and South Slavic languages.

Conclusion: Sarajevo and One Illusion in August

1. So far, in this book, I have used the terms Muslims, Bosnian Muslims and

South Slavic Muslims to describe Bosnians and other South Slavs who have

adhered to Islam since the 15th and 16th centuries. In the former Yugoslavia,

the official name (recognised in the Constitution since 1972) for this Yugoslavnation of South Slavic origin used to be Muslims (Muslimani). The Bosnian

Muslim intellectual and political elite, however, changed it to Bosniaks in1993. The main purpose for this change was to avoid confusion with the reli-

gious term Muslim. Historically, Bosniak (Bosnianin) described an inhabitant

living in medieval, pre-Ottoman Bosnia. Thus, as Markowitz (2010, p. 63)indicates, the eponym Bosniak, unlike the term Muslim, makes a direct link

to Bosnia. Since, both geographically and culturally, Bosnia is part of Europe,the eponym Bosniak further indicates the inseparable link between SouthSlavic Muslims and the rest of Europe. I use the eponym Bosniak from this

point as it coincides with the historical time-frame in the book’s narrative.2. The Dayton Accord is the peace agreement for Bosnia-Herzegovina that was

reached at Wright-Patterson Air Force Base near Dayton, Ohio in November

1995, under the guidance of the US government. This agreement, signedby the Serbian, Croatian and Bosnian presidents, put an end to the war in

Bosnia-Herzegovina.

3. The Orange Revolution was a series of protests and political events that tookplace in the Ukraine from late November 2004 to January 2005. The revolu-

tion was the response to the 2004 Ukrainian presidential election, which was

claimed to have been marred by massive corruption, voter intimidation and

direct electoral fraud. Kiev, the Ukrainian capital, was the focal point of themovement’s campaign. Nationwide, the Orange Revolution was highlighted

by a series of acts of civil disobedience and general strikes.


7/28

186

After, After (Zbanic 1997) Bosnia. All the Invisible Children Blue Gypsy (Kusturica 2006) France/Italy/Serbia. Andrei Rublev (Tarkovsky 1969) Soviet Union. Anika’s Times (Pogacic 1954) Yugoslavia. Arizona Dream (Kusturica 1993) United States/France.(The) Battle of Kosovo (Sotra 1989) Yugoslavia. Beautiful People (Dizdar 1999).(The) Beauty of the Sin (Nikolic 1986), Yugoslavia.

(The) Big Boss (Wei 1971) Hong Kong. Black Cat, White Cat (Kusturica 1998) France/Serbia/Austria/Germany/Greece/

United States.

The Blacks (Devic & Juric, 2009) Croatia.(The) Blacksmith of Crucifix (Hanus 1920) The Kingdom of Serbs, Croats and

Slovenes.

Bobby (Kapoor 1973) India. Buffet Titanic (Kusturica 1978) Yugoslavia. Buick Riviera Rusinovic 2008) Croatia/Bosnia.Calling the Ghosts: A Story about Rape, War and Women (Jacobson & Jelincic 1996)

United States. Do You Remember Dolly Bell (Kusturica 1981) Yugoslavia. Early Works (Zilnik 1969) Yugoslavia. For Those Who Can Tell No Tales (Zbanic 2013) Bosnia & Herzegovina, Qatar,

Germany.

Geet (Sagar 1978) India.Gypsy Magic (Popov 1997) Macedonia.Grbavica (Zbanic 2006) Austria/Bosnia/Germany/Croatia.Guardian Angel (Paskaljevic 1986) Yugoslavia.Guca-Distant Trumpet (Milic 2006) Serbia.

Guernica (Kusturica 1977) Czechoslovakia.Gypsy Birth (Popov 1979) Yugoslavia.(The) Gypsy Girl (Nanovic 1953) Yugoslavia. Hamlet (Rajkovic 2006) Serbia. Hanka (Vorkapic 1955) Yugoslavia. How the War Started on My Island (Bresan 1996) Croatia. I Even Met Happy Gypsies (Petrovic 1967) Yugoslavia. Images from the Corner (Zbanic 2003) Bosnia. In the Land of Blood and Honey (Jolie 2011) United States. Kenedi Goes Back Home (Zilnik 2003) Serbia. Kenedi is Getting Married (Zilnik 2007) Serbia. Kenedi, Lost and Found Zilnik 2005) Serbia.(The) Killing Fields (Joffé 1984) United Kingdom.The Living and the Dead (Milic 2007) Croatia. Lukina’s Jovana 1979 (Nikolic 1979) Yugoslavia.

Filmography


8/28

Filmography 187

Montevideo, God Bless You Bjelogrlic 2010) Serbia. Morning (Djordjevic 1967) Yugoslavia.Nafaka (Dukarkovic 2006) Bosnia.No Man’s Land (Tanovic 2001) Bosnia/France/Slovenia/Italy/United Kingdom/

Belgium.(The) Ninth Circle (Stiglic 1960) Yugoslavia.Occupation in 26 Scenes (Zafranovic1978) Yugoslavia.(The) Old Timer (Zilnik 1988) Yugoslavia.Ordinary People (Perisic 2009) France/Serbia/Netherlands/Switzerland. Partisan Stories (Jankovic 1960) Yugoslavia.(The) Pervert’s Guide to Cinema (Fiennes 2006) United Kingdom/Austria/

Netherlands.

Petria’s Wreath (Karanovic 1980) Yugoslavia. [The] Pianist (Polanski 2002) France/German/Poland/United Kingdom.

Pretty Village, Pretty Flame (Dragojevic 1996) Serbia. Priests Cira and Spira (Jovanovic 1957) Yugoslavia. Promise me This (Kusturica 2006) Serbia/France. Red Rubber Boots (Zbanic 2000) Bosnia. [The] Scent of Quinces (Izdrizovic1982) YugoslaviaSerbian Epic (Pawlikowski 1992), United Kingdom.Slavica (Afric 1947) Yugoslavia.Snow (Begic 2008) Bosnia/France/Germany/Italy/Iran.Time of the Gypsies (Kusturica 1989) Yugoslavia/Italy/United Kingdom.Ulysses’ Gaze (Angelopoulos 1995) Greece/France/Italy/Germany/United

Kingdom/Serbia/Bosnia/Albania/Romania.Underground (Kusturica 1995) Serbia/France/Hungary/Bulgaria/Czech Republic.Unseen Wonder (Nikolic 1984) Yugoslavia.Walter defends Sarajevo (Krvavac 1972) Yugoslavia.When Father was Away on the Business (Kusturica 1984) Yugoslavia.Who is Singing Out There? Sijan 1981) Yugoslavia.


9/28

188

Agamben, G. 1995, ‘Difference and Repetition: On Guy Debord’s Film’, in Art andthe Moving Image: A Critical Reader, ed. T. Leighton, Tate Publishing, London,pp. 328–333.

Aksamija, A. 2008, ‘(Re)Constructing History: Post-Socialist Mosque Architecturein Bosnia and Herzegovina’, in Divided God and Intercultural Dialog , ed.T. Zigmanov, KUD Pozitiv, Ljubljana, pp. 106–133.

Albanese, P. 2001, ‘Nationalism, War and Archaization of Gender Relations in theBalkans’, Violence against Women, vol. 7, no. 9, pp. 999–1023.

Alispahic, F. 2005, ‘Ko ce igrati bosnjacku zrtvu silovanja?’, Walter , no. 121,viewed 25 April 2008, http://www.walter.ba/alispahic/kolumna/view.php>.

Alispahic, F. 2006, ‘Jasmila je nadrasla svoj ovozemaljski zivot’, Saff no. 165,viewed 17 November 2007, http://www.saff.ba/index.php?br=165.

Allen, B. 2002, ‘Toward a New Feminist Theory of Rape: A Response from theField’, Signs: Journal of Women in Culture and Society , vol. 27, no. 3, pp. 777–781.

Anderson, B. 1993, Imagined Communities, Verso, London.Andrew, D. 1984, Concepts in Film Theory , Oxford University Press, New York.Andric, I. 1977, The Bridge on the Drina, The University of Chicago Press, Chicago.Arendt, H. 1963, Eichmann in Jerusalem: A Report on the Banality of Evil, The Viking

Press, New York.Avdic, D. 2011, Kuda Sestro, Algoritam, Zagreb.Badiou, A. 2005, Handbook of Inaesthetic , Stanford University Press, Stanford.Badiou, A. 2009, ‘Cinema as Democratic Emblem’, Parrhesia, no. 6, pp. 1–6.Bajic, Z. 2000, ‘Life is No Film’, AIP Press, 31 January, viewed 15 September 2008,

available from http://www.aimpress.ch/dyn/trae/archive/data/200002/00226-004-trae-sko.htm.

Baker (2007) ‘The concept of turbofolk in Croatia: Inclusion/exclusion in the

construction of national musical identity’, in Nation in Formation: Inclusionand Exclusion in Central and Eastern Europe, ed. C. Baker, C.J. Gerry, B. Madaj,

L. Mellish and J. Nahodilová, SSEES Publications, London.Balibar, E. 2002, Politics and the Other Scene, Verso, London.Balibar, E. 2004a, We, the People of Europe? Reflection on Transnational Citizenship,

Princeton University Press, Princeton.Balibar, E. 2004b, ‘Europe as Borderland’, The Alexander von Humboldt Lecture in

Human Geography , University of Nijmegen, November 10, pp. 1–27, viewed 17April 2008, available from http://socgeo.ruhosting.nl/colloquium/Europe%20as%20Borderland.pdf.

Balibar, E. 2007, ‘On Universalism—Opening Statement’, 007 Koehn Eventin Critical Theory , A Dialogue between Alain Badiou and Etienne Balibar on‘Universalism’, University of California, Irvine, 2nd February, viewed on

29 August 2010, available from http://download.tales.com.br/marxismo/

Marxismo/Balibar%20Debating%20With%20Alain%20Badiou%20On%20Universalism.pdf.

Bibliography


10/28

Bibliography 189

Balibar, E. 2010, ‘Cosmopolitanism and Secularism; Working Hypotheses’, The Birkbeck Institute for Humanities, audio lecture—Backdoor Broadcasting Company,viewed 17 August 2011, available from http://backdoorbroadcasting.net/2010/05/

etienne-balibar-cosmopolitanism-and-secularism-working-hypotheses/.

Balibar, E. 2011, ‘Cosmopolitanism and Secularism: Controversial Legacies andProspective Interrogations’, Grey Room, no. 44, pp. 6–25.

Balibar, E. & Williams, E.M. 2002, ‘World Borders, Political Borders’, PMLA,vol. 117, no. 1, pp. 71–78.

Banac, I. 1992, ‘The Fearful Asymmetry of War: The Causes and Consequences of

Yugoslavia’s Demise’, Daedalus, vol. 121, no. 2, pp. 141–174.Banac, I. 2009, ‘What Happened in the Balkans (or Rather ex-Yugoslavia)?’, East

European Politics and Societies, vol. 23, no. 4, pp. 461–478.Barthes, R. 1977, Image-Music-Text , Fontana, London.Bartov, O. 2002, ‘Extreme Violence and the Scholarly Community’, UNESCO,

viewed 2 February 2009, available from http://unesdoc.unesco.org/images/0012/001290/129074eo.pdf#129065.

Batinic, J. 2001, ‘Feminism, Nationalism, and War: The “Yugoslav Case” in

Feminist Texts’, Journal of International Women’s Studies, vol. 3, no. 1, pp. 2–23.Benjamin, W. 1973, Illuminations, Fontana, London.Benjamin, W. 1978, Reflections, Schocken Books, New York.Bergen, R. 2008, ‘In the Yugoslavia of the Mind’, Guardian, 28 August, viewed

15 December 2011, available from http://www.guardian.co.uk/film/film-

blog/2008/aug/26/intheyugoslaviaofthe mind.

Best, S. & Kellner, D. 1987, ‘(Re) watching Television: Notes Toward a Political

Criticism’, Diacritics, vol. 17, no. 2, pp. 97–113.Boose, L.E. 2002, ‘Crossing the River Drina: Bosnian Rape Camps, Turkish

Impalement, and Serb Cultural Memory’, Signs: Journal of Women in Culture andSociety , vol. 28, no. 11, pp. 71–96.

British Film Institute. 2007, ‘Grbavica—Three Women, War, and the HealingPower of Film’, viewed 29 November 2010, available from http://www.ukfilm-

council.org.uk/media/pdf/e/0/Grbavica_case_study_text_u pdated.pdf .

Brooks, B. 2007, ‘Interview: Jasmila Zbanic, Director of “Grbavica: The Landof My Dreams” ’, IndieWire Online, viewed 11 October 2007, available from

http://www.indiewire.com/article/indiewire_interview_jasmila_zbanic_direc-

tor_of_grbavica_the_land_of_my_drea/ .Brooks, G. 2008, People of the Book, Harper Collins, London.Brown, R.D. & Wilson R.A. 2006, ‘Introduction’, in Humanitarian Responses to

Narratives of Inflicted Suffering , Conference of the Humanities Institute and theHuman Rights, Institute of the University of Connecticut, Connecticut, viewed

17 October 2007, http://www.humanrights.uconn.edu/conf_2006.htm.

Bruno, G. 1993, treetwalking on a Ruined Map, Princeton University Press,Princeton.

Buric, A. 2001, ‘ “Mi” i Romi’, bhDani, no. 213, 6 July, viewed 23 January 2010,available from http://www.bhdani.com/arhiva/213/t21305.shtml.

Burke. 1978, Connections, Little, Brown & Company, LondonButler, J. 1999, Gender Trouble, 2nd ed, Routledge, New York.Butler, J. 2003, ‘Judith Butler’, in Critical Intellectuals on Writing , ed. G.A. Olson &

L. Worsham, State University of New York Press, Albany, pp. 42–52.


11/28

190 Bibliography

Butler, J. 2004a, Precarious Life: The Powers of Mourning and Violence, Verso, London.Butler, J. 2004b, ‘Jews and the Bi-National State’, Logos Online, vol. 3, no. 1,

viewed 17 April 2007, available from http://www.logosjournal.com/butler.pdf.

Card, C. 1996, ‘Rape as a Weapon of War’, Hypatia, vol. 11, no. 4, pp. 5–18.

Cartwright, G. 2006, ‘Among the Gypsies’, World Literature Today , vol. 80, no. 3,pp. 51–55.

Castells, M. 1997, The Power of Identity , Blackwell, Oxford.Cengic, E. 1995, ‘The Sarajevo Jews in the World War II’, in Seafard 92, ed.

M. Nezirovic, Institut za istoriju & Jevrejska zajednica Bosne i Hercegovine,

Sarajevo, pp. 173–184.Ceresnjes, I. 2007, ‘Bosnian Jewry: A Small Community Meets a Unique

Challenge During the 1990s War’, Institute for Global Jewish Affairs, no. 24,viewed 11 April 2010, available from http://www.jcpa.org/JCPA/Templates/ShowPage.asp?DRIT=4&DBID=1&LNGID=1&TMID=111&FID=623&PID=0&

IID=1829&TTL=Bosnian_Jewry:_A_Small_Community_Meets_a_Unique_Challenge_During_the_1990s_War.

Charles, N. & Hintjens, H. (eds) 1998, Gender, Ethnicity and Political Ideologies,Routledge, London.

Chaunduri, S. 2006, Feminist Film Theorists, Routledge, New York.Chung, H-M. 2009, ‘The Politics of Postmodernist Film—Emir Kusturica’s When

Father Was Away on Business, Time of the Gypsies and Underground ’, MasterThesis, Institute of Art Studies, NCKUR.

Clark, C. & Clark J. 1987, ‘The Gender Gap in Yugoslavia: Elite versus Mass

Levels’, Political Psychology , vol. 8, no. 3, pp. 411–426.

Cleugh, J. 1953, Spain in the Modern World , Alfred A. Knopf, New York.Conversi, D. 2009, ‘Globalization, Ethnic Conflict and Nationalism’, in Handbook

of Globalization Studies, ed. B. Turner, Routledge, London, pp. 346–366.Coop99, 2006, ‘Film Grbavica’, viewed 19 September 2008, http://www.coop99.

at/grbavica_website.Costanzo, W.V. 2004, Great Films and How to Teach Them, NCTE, Urbana.Crowe, D.M. 1996, A History of the Gypsies of Eastern Europe and Russia, St Martin’s

Griffin, New York.Crowe, D.M. 2000, ‘Muslim Roma in the Balkans’, Nationalities Papers, vol. 28,

no. 1, pp. 94–128.

Curak, N. 2005, ‘Zatvoreno društvo i njegovi prijatelji—kritika monistikih konce-pata politickog pluralizma u Bosni i Hercegovini’, in laba drustva i nevolje s plu-ralizmom, ed. S. Dvornik & V. Horvat, Fondacija Heinrich Böll, Zagreb, pp. 31–54.

Curak, N. 2006, ‘Evropa. Geopoliticka objava’, Alexandria, no. 57, viewed 11 April2011, available from http://www.alexandria press.com/online/online57_ner-

zuk_curak_evropa_geopoliticka_objava.htm.

Dakovic, N. 1997, ‘Mother, Myth, and Cinema: Recent Yugoslav Cinema’, FilmCriticism, vol. 21, no. 2, pp. 40–49.

Dakovic, N. 2000, ‘Rat u kuci ogledala’, Profemina, no. 23/24, pp. 211–221.Dakovic, N. 2006 , ‘ Petrijin venac/Petria’s Wreath’, in The Cinemas of the Balkans,

ed. D. Iordanova, Wallflower Press, London, pp. 161–170.Danto, A.C. 1999, Philosophizing Art: Selected Essays, University of California

Press, Berkley.

DeCuir, G. 2011, Yugoslav Black Wave: Polemical Cinema from 1963–72 in theSocialist Federal Republic of Yugoslavia, Film Centre Serbia, Belgrade.


12/28

Bibliography 191

Demirova-Abdulova, S. 2005, ‘Roma’s Self-government in Shuto Orizari’, in Romain Europe: From Social Exclusion to Active Participation, ed. P. Thelen, FriedrichEbert Stiftung, Skopje, pp. 197–214.

Denzin N.K. 1989, Interpretive Interactionism, Sage Publications, London.

Derrida, J. 2001, On Cosmopolitanism and Forgiveness, Routledge, London.Derrida, J. & Stiegler, B. 2002, Echographies of Television, Polity Press,

Cambridge.Diken, B. & Lausten, C.B. 2005, ‘Becoming Abject: Rape as a Weapon of War’,

Body and Society , vol. 11, no. 1, pp. 111–128.Dimitrijevic, N. 2002, ‘Ethno-nationalised States of Eastern Europe: Is There a

Constitutional Alternative?’, Studies in East European Thought , vol. 54, no. 4,pp. 245–269.

Dimova, R. 2009, ‘Memory in Peril: Srebrenica as a “Commemorative Arena” ’,in Erinnerungen in Kultur und Kunst: Reflexionen über Krieg, Flucht und Vertreibung

in Europa, ed. A. von Oswald, A. Schmelz & T. Lenuweit, Transcript, Bielefeld,pp. 99–108.

Djeric, Z. 2008, ‘Srpski i hrvatski film: Pretpostavke za pisanje istorije nacional-

nih, odnosno državnih kinematografija’, in Serbo-Croat Relations in The 20thCentury History and Perspectives, Institute for historical justice and reconcilia-tion, Salzburg & Novi Sad, pp. 103–112.

Djordjevic, M. 2006, ‘Topovi prate svestenicke stope’, FeralTribune, no. 1110,viewed 29 December 2008, http://feral.mediaturtle.com/look/weekly1/article_

sngl.tpl?IdLanguage=7&Id Publication=1&NrArticle=15022&NrIssue=1110&N

rSection=15&ST1=text& ST_T1=interview&ST_AS1=1&ST_max=1.

Djurica, R. 2008, ‘14th Sarajevo Film Festival’, Wild Violet , vol. 7, no. 3, viewed30 September 2008, available from http://www.wildviolet.net/linked_lives/

sarajevo.html.Djuricic, A. 2009, ‘Vladimir Perisic—Intervju’, utarnji List , 23 October,

viewed 17 December 2010, available from http://globus.jutarnji.hr/kultura/novi-srpski-ep-o- lakoci-ubijanja.

Djuric-Kuzmanovic, T., Drezgic, R. & Zarkov, D. 2008, ‘Gendered War; Gendered

Peace: Violent Conflicts in the Balkans and their Consequences’, in Gendered Peace: Women Struggles for Post-War Justice and Reconciliation, ed. D. Pankhurst,Routledge, New York, pp. 265–292.

Donia, R.J. 2000, ‘Ideals and Realities in Bosnia and Herzegovina: The Questfor Tolerance in Sarajevo’s Textbooks’, Human Rights Review , vol. 1, no. 2,pp. 38–55.

Donia, R.J. 2006, arajevo: Biografija grada, Institut za istoriju, Sarajevo.Donia, R.J. & Fine, J. 1994, Bosnia-Herzegovina: A Tradition Betrayed , Columbia

University Press, New York.

Drakulic, S. 2001, ‘Bosnian Women Witness’, The Nation Online, 19March, viewed 17 April 2008, http://www.thenation.com/docprint.

mhtml?i=20010319&s=drakulic.

Drakulic, S. 2005, They Would Never Hurt a Fly: War Criminals on Trial in the Hague,Penguin, London.

Driscoll, J.P. 1952, ‘Tito and Celluloid’, The Quarterly of Film Radio and Television,vol. 7, no. 2, pp. 129–134.

Engelen, L. 2007, ‘Back to the Future, Ahead to the Past. Film and History:

A Status Quaestionis’, Rethinking History , vol. 11, no. 4, pp. 555–563.


13/28

192 Bibliography

Erceg, H. 2006, ‘Grbavica’, Feral Tribune, no. 1066, viewed 28 February 2008,http://feral.mediaturtle.com/look/weekly1/article_sngl.tpl?IdLanguage=7&Id

Publication=1&NrArticle=12938&NrIssue=1066&NrSection=2&ST1=text&S

T_T1=kolumna&ST_AS1=1&ST_max=1.

European Roma Rights Center. 1996, A Pleasant Fiction; The Human Rightsituation of Roma in Macedonia, ERRC, Budapest.

European Roma Rights Center. 2005, ‘In the Aftermath of Ethnic Cleansing:Continued Persecution of Roma, Ashkalis, Egyptians and Others Perceived as

Gypsies” in Kosovo’, ERRC Memorandum Paper , 27 June, viewed 10 May 2010,available from http://www.errc.org/cikk.php?cikk=2460.

Farwell, N. 2004, ‘War Rape: New Conceptualizations and Responses’, Affilia, vol.19, no. 4, pp. 380–403.

Feinstein, H. 1999, ‘Enough Retirement! Kusturica Returns To the Gypsy Life’,he New York Times, 5 September, viewed 11 November 2007, available from

http://www.nytimes.com/1999/09/05/movies/film-enough-retirement-kustu-rica-returns-to-the-gypsy-life.html?scp=9&sq=kusturica&st=cse.

Ferreira, M.F. 2006, ‘Nation as Narration: The (de)construction of “Yugostalgia”through Kusturica’s Cinematic Eye’, Comunicação & Cultura, no. 1, pp. 135–155.

Fisk, R. 2007, ‘In the Shadow of the Second World War’, The Independent , 2 June,viewed 11 September 2010, available from http://www.independent.co.uk/

opinion/commentators/fisk/robert-fisk-in-the-shadow-of-the-second-world-war-451366.html.

Foucault, M. 1994, Aesthetics: Essential Works of Foucault 1954–1984, PenguinBooks, London.

Foucault, M. 2003, Society Must Be Defended: Lectures at the Collège de France,1975–76, Penguin Books, London.

Foucault, M. 2007, ‘Space, Power and Knowledge’, in The Cultural Studies Reader,ed. S. During, Routledge, New York, pp. 164–171.

Fraser A. 1995, The Gypsies, Blackwell, Oxford.Fuller, G. 1999, ‘The Director they Couldn’t Quash’, Interview , vol. 29, no. 9,

viewed 17 April 2008, available from http://www.dhennin.com/kusturica/v2/

interviews_en.html.Gajevic, A. 2010, ‘Kusturica: Srebrenica je i moja tragedija/ Kusturica: Srebrenica

is my Tragedy Too (Interview)’, Dnevni Avaz—online edition, 22 April, viewed25 April 2010, available from http://www.dnevniavaz.ba/dogadjaji/intervju/kusturica-srebrenica-je-i-moja-tragedija/komentari.

Galt, R. 2006, Redrawing the Map: The New European Cinema, Columbia UniversityPress, New York.

Gilroy, P. 1993, The Black Atlantic: Modernity and Double Consciousness, Verso,London.

Gmelch, G. 1985, ‘Review—Dae (Gypsy Birth)’, American Anthropologist , vol. 87,no. 1, p.232.

Gocic, G. 2001, Notes from the Underground: The Cinema of Emir Kusturica,Wallflower Press, London.

Gocic, G. 2003, ‘Early and Late Works: The Cinema of Zelimir Zilnik in the Period

of Transition—From the 1960s to this Day’, in Zelimir Zilnik: Above the Red Dust , Beograd, ed. M. Stojanovic, Institut za Film, Belgrade, pp. 87–105.

Gocic, G. 2009, ‘The Dionysian Past and the Apollonian Future of Serbian Cinema

(Zilnik, Kusturica, Dragojevic)’, Kinokultura, Special Issue no. 8, viewed 17 May2010, available from http://www.kinokultura.com/specials/8/gocic.shtml.


14/28

Bibliography 193

Gonc, K. 2008, ‘The Power to Articulate the Unspoken’, in Peace through Meansof Art: Dealing with the Present, the Past, and the Future, ed. P. Schneider, viewed15 August 2009, available from http://www.akademischesnetzwerk-soe.net/

download/Peace-through-means-of-art_2009.pdf.

Goulding, D.J. 2002, Liberated Cinema: The Yugoslav Experience 1945–2001,Indiana University Press, Bloomington.

Gow, J. 2006, ‘Strategic Pedagogy and Pedagogic Strategy’, International Relations,vol. 20, no. 4, pp. 393–406.

Green, M.E. 1997, ‘Mira Furlan: Stranger in a Strange Land’, Little Review, viewed11 February 2011, available from http://www.littlereview.com/getcritical/inter-views/furlan.htm.

Groves, T. 2003, ‘Cinema/Affect/Writing’, Senses of Cinema, no. 25, viewed 11October 2008, http://www.sensesofcinema.com/contents/03/25/writing_cin-ema_affect.htm.

Guerard, A. 1936, ‘Art for Art’s Sake’, Books Abroad , vol. 10, no. 3, pp. 263–265.Guerard, A. n.d. ‘Albert Guerard Comments’, Brief Bibliographies, viewed 13

October 2011, available from http://biography.jrank.org/pages/4383/Guerard-

Albert-Joseph-Albert-Guerard-comments.html.Halilovic, J. 2012, ‘Stvarni broj ubijene djece’, Radio Sarajevo, 19

April, available from http://radiosarajevo.ba/novost/79341/

jasminko-halilovic-stvarni-broj-ubijene-djece.Handrahan, L. 2004, ‘Conflict, Gender, Ethnicity and Post-Conflict

Reconstruction’, Security Dialogue, vol. 35, no. 4, pp. 429–445.Hannerz, U. 1990, ‘Cosmopolitans and Locals in World Culture’, Theory Culture

Society, vol. 7, pp. 237–251.Hasdeu, I. 2008, ‘Imagining the Gypsy Woman: Representations of Roma in

Romanian Museum’, hird Text , vol. 22, no. 3, pp. 347–357.Hattam, R. 2004, Awakening-Struggle: Towards a Buddhist Critical Social Theory , Post

Pressed, Flaxton.Hemon, A. 2005, ‘London Calling’, bhDani, no. 422, 15 June, viewed

15 April 2008, available from http://www.bhdani.com/default.

asp?kat=kol&broj_id=422&tekst_rb=20.Hemon, A. 2006, ‘Sarajevo is a City with a Broken Spine’, Nezavisne, 22

September viewed 11 October 2007, available from http://www.nezavisne.

com/revija/tekst3- 051016.php.Henig, R.B. 2002, The Origins of the First World War , Routledge, London.Henwood, D. 2002, ‘I am a Fighting Atheist: Interview with Slavoj Zizek’, Bad

Subject , no. 59, viewed 10 March 2007, available from http://bad.eserver.org/issues/2002/59/zizek.html.

Hodson, R., Sekulic, D. & Massey, G. 1994, ‘National Tolerance in the Former

Yugoslavia’, American Journal of Sociology , vol. 99, no. 6, pp. 1534–1558.Holbrooke, R. 1998, To End a War , Random House, New York.Homer, S. 2006, ‘ “The Roma Do Not Exist”: The Roma as an Object

of Cinematic Representation and the Question of Authenticity’, Objects: Material, Psychic, Aesthetic, Grammar: Journal of Theory and Criticism, vol. 14,pp. 183–198.

Homer, S. 2009, ‘Retrieving Emir Kusturica’s Underground as a Critique of Ethnic

Nationalism’, Jump Cut: A Review of Contemporary Media, Fall 2009, no. 51,viewed 11 November 2010, available from http://www.ejumpcut.org/archive/jc51.2009/Kusterica/text.html.


15/28

194 Bibliography

Horton, A. 1987–88, ‘The Rise and Fall of the Yugoslav Partisan Film: CinematicPerceptions of a National Identity’, Film Criticism, vol.XII, no. 2, pp. 18–28.

Horton, A. 1998, ‘Cinematic Makeovers and Cultural Border Crossings:

Kusturica’s Time of the Gypsies and Coppola’s Godfather and Godfather II ’, in Play

It Again, Sam: Retakes on Remakes, ed. A. Horton & S.Y. McDougal, University ofCalifornia Press, London, pp. 172–190.html.

Horton, A. 2000, ‘Critical Mush: Emir Kusturica Given an Easy Ride by a NewDocumentary’, in The Celluloid Tinderbox: Yugoslav Screen Reflection of aTurbulent Time, Central Europe Review, London, pp. 32–42.

Horton, A. 2002, ‘Laughter, Dark & Joyous in Recent Films from the FormerYugoslavia’, Film Quarterly , vol. 56, no. 1, pp. 23–28.

Hromadzic, A. 2002, Female Body and (Ethno) Political Violence, Department ofAnthropology, University of Pennsylvania, viewed 16 April 2006, casnov1.cas.muohio.edu/havighurstcenter/papers/hromadzic.pdf.

Human Right Watch 2002, ‘Hopes Betrayed: Trafficking of Women and Girls toPost-Conflict Bosnia and Herzegovina for Forced Prostitution’, HRW , vol. 14,no. 9, viewed 19 December 2008, http://www.hrw.org/reports/2002/bosnia/.

Hunt, S. 2004, ‘Muslim Women in the Bosnian Crucible’, Sex Roles, vol. 51,no. 5/6, pp. 301–317.

ICTY Case Information Sheet. 2000, ‘Drazen Erdemovic—Pilica farm (IT-96–22)’,

Communications Service of the International Criminal Tribunal for the formerYugoslavia, pp. 1–5, viewed 17 August 2010, available from http://www.icty.org/x/cases/erdemovic/cis/en/cis_erdemovic_en.pdf.

IMDB, n.d., ‘Biography for Emir Kusturica’ , IMBD, viewed 20 November 2009,

available from http://www.imdb.com/name/nm0001437/bio.Iordanova, D. 1997, ‘Women in New Balkan Cinema: Surviving on the Margins’,

Film Criticism, vol. 21, no. 2, pp. 24–39.Iordanova, D. 1999, ‘Kusturica’s “Underground” (1995): Historical Allegory or

Propaganda?’, Historical Journal of Film, Radio & Television, vol. 19, no. 1, pp.69–86.

Iordanova, D. 2001, Cinema of Flames: Balkan Film, Culture and the Media, BFIPublishing, London.

Iordanova, D. 2002, Emir Kusturica, BFI Publishing, London.Iordanova, D. (ed.) 2006, ‘The Red Horse’, in The Cinema of the Balkans,

Wallflower Press, London, pp. 207–216.Iordanova, D. 2008, ‘Mimicry and Plagiarism’, Third Text , vol. 22, no. 3,

p. 305–310.

Ivanovic, N. 2000, ‘Appropriation and Manipulation of “Women’s Writing” in theNationalist Discourse in Serbia in the Nineties’, Rec , vol. 59, no. 5, pp. 245–289.

Ivekovic, I. 2002, ‘Nationalism and the Political Use and Abuse of Religion: The

Politicization of Orthodoxy, Catholicism and Islam in Yugoslav SuccessorStates’, Social Compass, vol. 49, no. 4, pp. 523–536.

Jakisa, M. 2012, ‘Memory of a Past to Come; Yugoslavia’s Partisan Films and the

Fashioning of the Space’, in Balkan Memories: Media Constructions of Nationaland Transnational History , ed. T. Zimmermann, transcript Verlag, Bielefeld,

p. 111–120. Jameson, F. 2004, ‘Thoughts on Balkan Cinema’, in Subtitles: On the Foreignness of

the Film, ed. A. Egoyan & I. Balfour, The MIT Press, Cambridge, pp. 232–256.


16/28

Bibliography 195

Jancar-Webster, B. 1999, ‘Women in the Yugoslav National Liberation Movement’,in Gender Politics in the Western Balkans: Women and Society in Yugoslavia andthe Yugoslav Successor States, ed. S. Ramet, Pennsylvania State University Press,University Park, pp. 67–88.

Jankovic, Z. 2010, ‘Ko kosi nek i suknju nosi’, PopBoks Online, viewed 28 February2011, available from http://www.popboks.com/tekst.php?ID=7948.

Jankovic, Z. 2011, ‘I drug, i borac, i vodja i … zena—Slučaj rediteljki u Srbiji’,Yellow Cab Online, viewed 28 March 2011, available from http://www.yellow-cab.rs/sr/magazine/kritika/filmovi/story/3313/I+drug,+i+b orac,+i+vo%C4%91

a+i...+%C5%BEena++Slu%C4%8Daj+rediteljki+u+Srbiji.html. Jankovic-Piljic, A. 2009, ‘Who’s Afraid of Alice in Wonderland?’, KinoKultura,

special issue, viewed 17 April 2010, available from http://www.kinokultura.

com/specials/8/jankovic.shtml. Jergovic, M. 1998, Naci Bonton, Duierux, Zagreb.

Jergovic, M. 2000, Historijska Citanka, Naklada Zoro, Zagreb. Jergovic, M. 2004, ‘Pravo na Teferic’, BHDani, no. 346, viewed 15 August 2008,

http://www.bhdani.com/default.asp?kat=kol&broj_id=346&tekst_rb=22.

Jergovic, M. 2010, ‘Koje su nacionalnosti obicne ubojice?’, utarnji List ,6 March, viewed 17 April 2010, available from http://www.jutarnji.hr/

koje-su-nacije-obicni-ubojice/610178/.

Jergovic, M. 2011, ‘Povijest sarajevske kinematografije’, Radio Sarajevo, 24 June, viewed 18 August 2011m available from http://www.radiosarajevo.ba/

novost/56871/povijest-sarajevske-kinematografije.

Jevic, I. 2006, ‘Grbavica u Beogradu’, Vreme, no. 792, viewed 11 March 2008,

http://www.vreme.com/cmc/view.php?id=445693. Jovanovic, T. 2009, ‘Politics and Philosophy of Death Production in the Balkans’,

Pescanik, 11 November, viewed 26 September 2010, available from http://pes-canik.info/content/view/3969/158/.

Kajosevic, I. 2000, ‘Understanding War Rape: Bosnia 1992’, in Body GenderSubjectivity. Crossing Borders of Disciplines and Institutions, IV European FeministResearch Conference, Bologna, viewed 11 March 2008, http://www.women.it/

cyberarchive/files/kajosevic.htm.Kaufman, A. 1999, ‘Momentum and Emotion, Emir Kusturica’s Black Cat,

White Cat’, IndieWire, 9 September, viewed 15 August 2010, available fromhttp://www.indiewire.com/article/interview_momentum_and_emotion_emir_kusturicas_black_cat_white_cat/.

Keene, J. 2001, ‘The Filmmaker as Historian, Above and Below Ground; Emir

Kusturica and the Narratives of Yugoslav History’, Rethinking History , vol. 2,no. 5, pp. 233–253.

Kellner, D. 1989, Critical Theory, Marxism and Modernity , The John HopkinsUniversity Press, Baltimore.

Kellner, D. 1995, Media Culture: Cultural Studies, Identity, and Politics Between the Modern and the Postmodern, Routledge, New York.

Kellner, D. 1998, ‘Hollywood Film and Society’, in The Oxford Guide to FilmStudies, ed. J. Hill & P. Church Gibson, Oxford University Press, pp. 354–361.

Kellner, D. 2003, Media Spectacle, Routledge, New York.Kellner, D. 2010, Cinema Wars; Hollywood Film and Politics in the Bush-Cheney Era,

Wiley-Blackwell, Oxford.


17/28

196 Bibliography

Kesic, V. 2002, ‘Muslim Women, Croatian Women, Serbian Women, AlbanianWomen’, in Balkan as Metaphor: Between Globalization and Fragmentation, ed.D. Bjelic & O. Savic, MIT Press, Cambridge, pp. 311–322.

Koo, K.L. 2002, ‘Confronting a Disciplinary Blindness: Women, War and Rape

in the International Politics of Security, Australian Journal of Political Science,vol. 37, no. 3, pp. 525–536.

Kopic, M. 2009, ‘Vjera Evrope’, Zenicke Sveske, vol. 9, no. 10, pp. 28–36.Kosanovic, D. 2000, ‘Jugoslavija—raskrsnica pokretnih slika’, Zbornik radova

Fakulteta dramskih umetnosti, no. 4, pp. 158–164.Kosanovic, D. 2002–2003, ‘Da li je bilo filmske umetnosti u kraljevini SHS/

Kraljevini Jugoslaviji?’, Zbornik radova Fakulteta dramskih umetnosti, no. 6–7,pp. 213–232.

Kosanovic, D. 2008, ‘Roma and the Roma Question in the History of Cinema inBosnia and Region’, Forum Bosnae, no. 44, pp. 165–172.

Kostic, M. 2010, ‘Novi film Emira Kusturice—najveci tabu domaceg film’, süd-slavistic , no. 2, pp. 59–72.

Kostic, S. 2011, ‘Ja sam ucen, uspjesan i znam da osamarim—Kustruica, intervju’,

Vreme, no. 1060, viewed 19 July 2011, available from http://www.vreme.com/cms/view.php?id=988064 .

Kovac, M. 1992/2005, ‘I Kusturica je kriv’, Pionirov glasnik, 30 January 2005,viewed 11 October 2010, available from http://www.pionirovglasnik.com/print.php?content=276.

Kovacevic, A. 2004, Sjecanje zena o socializmu—traganje za identitetom, Biro Konto,Igalo.

Kreft, L. 2003, ‘Art in War: Comfort and Weapon’, Sarajevo Notebook, no. 3,pp. 345–355.

Kronja, I. (2004) ‘Politics, Nationalism, Music, and Popular Culture in 1990sSerbia’, Slovo, vol. 15, no. 1, pp. 5–15.

Kronja, I. 2008, ‘Women’s Rights in Serbian Cinema after 2000’, New Review of Film and Television Studies, vol. 6, no. 1, pp. 67–82.

Kunovich, R. & Deitelbaum, C. 2004, ‘Ethnic Conflict, Group Polarization,

and Gender Attitudes in Croatia’, ournal of Marriage and Family , no. 66,pp. 1089–1107.

Kupres, R. 2006, ‘Cinematography as the Confrontation: All Laughs are

not the Same’, Net Novinar online, viewed 1 September 2007, http://www.netnovinar.org/netnovinar/dsp_page.cfm?articleid=8267&urlsect

ionid=3006&specialsection=ART_FULL&pageid=1337&PSID=21739 .

Kusturica, E. 2010, mrt je neprovjerena glasina, Novost AD, Beograd.Letica, S. 1996, ‘The Genesis of the Current Balkan Wars’, in Genocide after Emotion:

he Postemotional Balkan War , ed. S.G. Mestrovic, Routledge, London, pp. 91–112.Levi, P. 2001, ‘Underground : jedna estetika etno-nacionalistickog uzivanja’,

Republika, no. 270–271. viewed 30 January 2007, available from http://www.yurope.com/zines/republika/arhiva/2001/270-271/270- 271_25.html.

Levi, P. 2007, Disintegration in Frames: Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema, Stanford University Press, Stanford.

Levi, P. & Zilnik, Z. 2010, ‘Europe’s Internal Exiles: Sound, Image, andPerformance of Identity in Zelimir Zilnik’s Films’, in Ethnic Europe: Mobility, Identity, and Conflict in a Globalized World , ed. R. Hsu, Stanford University Press,Stanford, pp. 104-126.


18/28

Bibliography 197

Loshitzky, Y. 2003, ‘Quintessential Strangers: The Representation of Romaniesand Jews in Some Holocaust Films’, Framework, vol. 44, no. 2, pp. 57–71.

Lovrenovic, I. 2009, ‘Sta je nama Evropa’, Jergovic Online, 5 August, viewed17 March 2011, available from http://www.jergovic.com/ajfelov-most/

sto-je-nama-evropa/.Lovrenovic, I. 2010, ‘Odisej biopolarnog doba’, Jergovic Online, 27 June,

viewed 17 April 2011, available from http://www.jergovic.com/ajfelov-most/odisej-bipolarnoga-svijeta.

Lundemo, T. 2006, ‘The Colors of Haptic Space: Black, Blue and White in Moving

Images’, in Color: The Film Reader , ed. A. Dalle Vacche & B. Price, Routledge,New York, pp. 88–101.

Luzina, J. 2006, ‘A Unique Theatre Miracle: Thirty-five Years of the Romany

Pralipe Theatre (1971–2006)’, Journal for Politics, Gender, and Culture, vol. 4,no. 8/9, pp. 279–299.

Magas, B. 1989, ‘Yugoslavia: The Spectre of Balkanization’ , New Left Review ,no. 174, pp. 3–31.

Magas, B. 1999, ‘Afterword’, in Gender Politics in the Western Balkans: Women andSociety in Yugoslavia and the Yugoslav Successor States, ed. S. Ramet, PennsylvaniaState University Press, University Park, pp. 275–189.

Malcolm, N. 1994, Bosnia; A Short History , New York University Press,New York.

Mann, L.K. 2010, ‘The Provocative Zelimir Zilnik: from Yugoslavia’s Black Wave

to Germany’s RAF’, südslavistik, no. 2, pp. 35–57.Markowitz, F. 2010, Sarajevo: A Bosnian Kaleidoscope, University of Illinois Press,

Chicago.Markowitz, F. 2011, ‘Tense and Tension in Long-term Fieldwork: How Postwar is

Poswar Sarajevo?’, Anthropology and Humanism, vol. 36, no. 1, pp. 66–77.Marushiakova, E. & Popov, V. 2001, Gypsies in the Ottoman Empire; A Contribution

to the History of the Balkans, University of Hertfordshire Press, Hatfield.Maryniak, I. 2004, ‘Think Roma, say Jew—you Won’t get Away with it’, Index of

Censorship, no. 3, pp. 58–63.Matejcic, J. 2006, ‘Grbavica ide u Hag: Jasmila Zbanic, Intervju’ ,

Vjesnik, 22–23 April, viewed 11 April 2009, http://ns1.vjesnik.com/pdf/2006%5C04%5C22%5C82A82.PDF.

Matkovic, H. 1998, Povijest Jugoslavije; hrvatski pogled, Naklada Pavicic, Zagreb.Memedova, A., Plaut, S., Boscoboinik, A. & Giordano, C. 2005, Roma’s Identities

in Southeast Europe: Macedonia, Ethnobarometar, Rome.Mijovic, N. 2006, ‘The Beauty of the Sin’, in The Cinemas of the Balkans, ed.

D. Iordanova, Wallflower Press, London, pp. 227–236.Milicevic, S.A. 2006, ‘Joining the War: Masculinity, Nationalism and War

Participation in the Balkans War of Secession, 1991–1995’, Nationalities Papers,vol. 34, no. 3, pp. 265–287.

Milojevic, I. 2003, ‘Gender and the 1999 War in and Around Kosovo’, Social Alternatives, vol. 22, no. 2, pp. 28–36.

Milosavljevic, O. 2010, Cinjenice i Tumacenja; Dva Razgovora sa Latinkom Perovic ,Helsinški odbor za ljudska prava u Srbiji, Belgrade.

Milosevic, M. 2000, ‘The Media Wars: 1987–1997’, in Burn This House: The Makingand Unmaking of Yugoslavia, ed. J. Udovicki & J. Ridgeway, Duke UniversityPress, Durham, pp. 109–130.


19/28

198 Bibliography

Miskovska-Kajevska, A. 2006, ‘Communists, Feminists and Nationalists:A Journey into the Former Yugoslavia (1941–1991)’, Master Thesis, Faculty ofSocial and Behavioural Sciences, University of Amsterdam.

Mitrovic, A. 2007, erbia’s Great War; 1914–1918, C Hurst & Co, London.

Mladjenovic, L. & Hughes, D.M. 1999 , Feminist Resistance to War and Violence inSerbia, Women’s Studies Program, University of Rode, viewed 14 May 2009,http://www.uri.edu/artsci/wms/hughes/warvio1.htm .

Monaco, J. 2000, How to Read a Film: The World of Movies, Media, Multimedia: Language, History, Theory , Oxford University Press, New York.

Mueller, J. 2000, ‘The Banality of “Ethnic Wars” ’, International Security , vol. 25,no. 1, pp. 42–70.

Nikolaidis, A. 2011, ‘Sta ako je Evropska unija mrtva kao i Jugoslavija’, Zurnal, 3September, viewed 11 September 2011, available from http://zurnal.info/home/index.php?option=com_content&view=article&id=9254:ta-ako-je-evropska-

unija-mrtva-kao-i-jugoslavija&catid=62:andrej-nikolaidis&Itemid=132.Nikolic-Solomon, D. & Katana, G. 2006, ‘Serbs Divided Over Rape Film’, Birn’s

Balkan Insight , no. 24, viewed 10 April 2006, www.birn.eu.com/insight_24_2_eng.php—52k .

Olujic, M.B. 1998, ‘Embodiment of Terror: Gendered Violence in Peacetime and

Wartime in Croatia and Bosnia-Herzegovina’, Medical Anthropology Quarterly ,vol. 12, no. 1, pp. 31–50.

Papic, Z. 1994, ‘Nationalism, Patriarchy and War in Ex-Yugoslavia’, Women’s History Review , vol. 3, no. 1, pp. 115–117.

Papic, Z. 1999, ‘Women in Serbia: Post-Communism, War, and Nationalist

Mutations’, in Gender Politics in the Western Balkans: Women and Society inYugoslavia and the Yugoslav Successor States, ed. S. Ramet, Pennsylvania StateUniversity Press, University Park, pp. 153–170.

Papic, Z. 2008, ‘The Roma Question in Bosnia-Herzegovina’, Forum Bosnae,no. 44, pp. 139–147.

Pasovic, H. 2009, ‘City the Engaged’, International Writing Program, University ofIowa, viewed 27 November 2011, available from http://iwp.uiowa.edu/sites/

iwp.uiowa.edu/files/Pasovic_Haris_CityEngaged.pdf .Pasqualino, C. 2008, ‘The Gypsies, Poor but Happy’, Third Text , vol.2 2, no. 3,

pp. 337–345.

Pavicic, J. 2010, ‘Cinema of Normalization’: Changes of Stylistic Model in Post-Yugoslav Cinema after the 1990s’, tudies in Eastern European Cinema, vol. 1,no. 1, pp. 43–65.

Pavicic, J. 2012, ‘Iako je Jolie nastojala izbjeci holivudizaciju tudje nevolje, med-jutim film joj nije uspio’, Jutarnji List , 11 February, available from http://www.jutarnji.hr/iako-je-jolie-nastojala-izbjeci-holivudizaciju-tude-nevolje--film-

joj-nije-uspio/1005982/ .Pavlica, D. 2011, ‘Savremena istorija Kosova’, Pescanik, 19 October,

viewed 11 October 2011, available from http://pescanik.net/2011/09/

savremena-istorija-kosova/.Pejkovic, A. 2006, ‘Grbavica—Pogled iz Sarajeva’, PopBoks, viewed 11 April 2006,

available from http://www.popboks.com/film/grbavica02.shtml.Pejkovic, S. 2011, ‘Medijska povest barbarogenija: Od Slobe do Voje’, E-Novine, 15

February, viewed 16 February 2011, available from http://www.e-novine.com/

stav/44818-Slobe-Voje.html.


20/28

Bibliography 199

Perisic, V. 2009, ‘San o propasti Evropske unije’, E-Novine, 21 July, viewed 26October 2010, http://www.e-novine.com/stav/28185-San-propasti-Evropske-

unije.html?print.

Perisic, V. 2010a, ‘Slobodan Milosevic u ogledalu posljedica’, Pescanik, 28

October, viewed 11 August 2011, available from http://pescanik.net/2010/10/slobodan-milosevic-u-ogledalu-posljedica/.

Perisic, V. 2010b, ‘Pobratimstvo mangupa i nitkova u svemiru i Samuel Johnson’, Pescanik, 21 December, viewed 11 April 2011, available from http://pescanik.net/2010/12/pobratimstvo-mangupa-i-nitkova-u-svemiru-i-samuel-

johnson/.Perisic, V. 2011a, ‘Kad zaboravis juli’, Pescanik, 17 July, viewed 20 July 2011, avail-

able from http://pescanik.net/?p=17174.

Perisic, V. 2011b, ‘Titov Default’, Pescanik, 30 August, viewed 1 September 2011,available from http://pescanik.net/?p=17200.

Perisic, V. 2011c, ‘Jugoslavenski paradoks’, Pescanik, 23 January, viewed 18 April2011, available from http://pescanik.net/2011/01/jugoslavenski-paradoks/.

Perovic, J. 2007, ‘The Tito-Stalin Split: A Reassessment in Light of New Evidence’,

Journal of Cold War Studies, vol. 9, no. 2, pp. 32—63.Pesic, V. 1996 ‘Serbian Nationalism and the Origins of the Yugoslav Crisis’,

Peaceworks, no. 8, viewed 17 April 2009, available from http://www.usip.org/pubs/specialreports/early/pesic/pesic.html.

Petkovic, V. 2009, ‘Opsada Sarajeva’, E-Novine, 11 August, viewed 17 August 2009,available from http://www.e-novine.com/kultura/kultura-sa-lica-mesta/28789-

Opsada-Sarajeva.html.

Pinto, V. 2006, ‘Esma’s Secret; The War Beyond the War’, Cineuropa, 31 October,viewed 14 November 2008, available fromhttp://cineuropa.org/ffocusarticle.

aspx?lang=en&treeID=1294&documentID=69179Prpa-Jovanovic, B. 2000, ‘The Making of Yugoslavia: 1830–1945’, in Burn This

House: The Making and Unmaking of Yugoslavia, ed. J. Udovicki & J. Ridgeway,Duke University Press, Durham, pp. 43–65.

Puttnam, D. 2010, ‘The Value of Cinema in Digital Age’, ABC Radio National,2010 Asia Pacific Screen Awards (APSA), audio file, viewed 15 February2011, available from http://www.abc.net.au/radionational/programs/bigideas/

the-value-of-cinema-in-the-digital-age/2999996.

Radio Televizija Srbije. 1989, ‘Gazimestan 1389–1989—govor SlobodanaMilosevica’, footage uploaded on YouTube, viewed 14 September 2011, avail-able from http://www.youtube.com/watch?v=vdU6ngDhrAA.

Radojkovic. 2007, ‘Parliament Wars, Episode I: The Gypsy Menace’, Belgrade 2.0,27 September, viewed 12 October 2007, available from http://www.belgraded.

com/blog/society/parliament-wars-episode-i-the-gypsy-menace.

Radevic, M. 2006, ‘Ken Louch- Britanski reziser i scenarist’, Oslobodjenje,no. 49548, viewed 26 November 2006, http://www.oslobodjenje.ba/index.

php?option=com_content&task=view&id=49548&Itemid=50.

Radovic, M. 2007, ‘Cottbus Film Festival 2007’, Interfilm-info, no. 2 June–2 July,viewed 22 May 2010, available from http://www.gep.de/interfilm/bilder/

Interfilm_Info_2006-2007.pdf.Ramet, S. (ed.) 1999, ‘In Tito’s Time’, in Gender Politics in the Western Balkans:

Women and Society in Yugoslavia and the Yugoslav Successor States, PennsylvaniaState University Press, University Park, pp. 89–106.


21/28

200 Bibliography

Ranciere, J. 2004, The Politics of Aesthetic: The Distribution of the Sensible,Continuum, London.

Rankovic, R.S. 2002, ‘Filmski Zivot Roma u Jugoslavenskoj kinematografiji—sele-

ktivan pregled/Filmic Life of Roma in Yugoslav Cinematography—a Selected

Review’, Kutura, no. 103/104, pp. 203–212.Rutherford, A. 2003, ‘Cinema and Embodied Affect’, Senses of Cinema, no. 25,

viewed 21 September 2008, http://www.sensesofcinema.com/contents/03/25/cinema_and_embodied_affect.html.

Said, E.W. 1983, The World, the Text and the Critics, Harvard University Press,Cambridge.

Said, E.W. 1989, ‘Representing the Colonized: Anthropology’s Interlocutors’,

Critical Inquiry , vol. 15, no. 2, pp. 205–225.Sakic, T. 2009, ‘Filmski svijet Veljka Bulajica: popriste susreta kolektivnog i privat-

nog’, Hrvatski filmski ljetopis, vol. 15, no. 57–58, pp. 14–26.

Santic, A. 1896/2006, ‘Stay Here’, Spirit of Bosnia, vol. 1, no. 4, viewed11 January 2012, available from http://www.spiritofbosnia.org/

volume-1-no-4-2006-october/stay-here/.

Sarajevo Film Festival 2012, The Festival’s Info, viewed 31 January 2012, availablefrom http://www.sff.ba/content.php/en/festival_info?site=sff.

Sarhandi, D. & Bob, O.A. 2001, Evil Doesn’t Live Here; Posters from the Bosnian War,Princeton Architectural Press, New York.

Savic, O. 2007, ‘Balkans and Europe to Come’, in Identitetit Evropian i Kosovës,Forum 2015, Pristina, pp. 55–71.

Savic, O. 2008, ‘Promise of Europe’, The Peace Institute, Inclusion and Exclusion

in and on the Borders of Europe, Symposium, 6–7 June, Portoroz, viewed 15December 2010, available from http://www.mirovni- institut.si/data/tinymce /

Projekti/EE-vklju%C4%8Devanje/obradsavic.pdf .Sejdic, D. 2010, ‘Sreca je da nisu svi Bosnjaci bijeli’, Zurnal, 4 April, viewed 10 Apr

2010, available from http://www.zurnal.info/home/index.php?option=com_content&view=article&id=1328:dervo-sejdi-srea-je-to-nisu-svi-bonjaci-bijeli&catid=

45:interview&Itemid=31.

Sell, L. 1999, ‘The Serb Flight from Sarajevo: Dayton’s First Failure’, East European Politics and Societies, no. 14, pp. 179–202.

Serbezovski, M. 2009, ‘Kusta je pokvarenjak, a Brega uzurpator’, Svet , 15April, viewed 29 December 2010, available from http://www.svet.rs/arhiva/muharem-serbezovski-kusta-je-pokvarenjak-brega-uzurpator.

Sesic, R. 2006, ‘Walter Defends Sarajevo’, in The Cinema of the Balkans, ed.D. Iordanova, Wallflower Press, London, pp. 107–116.

Shaviro, S. 1993, The Cinematic Body , The University of Minnesota Press,Minneapolis.

Silber, L. 1996, ‘The “Hero” of Dayton: Slobodan Milosevic and the Politics ofWar and Peace’, World Policy Journal, vol. 13, no. 1, pp. 63–69.

Silber, L. & Little, A. 1995, The Death of Yugoslavia, BBC Books, London.Silverberg, M. 2006, ‘Seeking Andalusia’, Mark Silverberg Blog , viewed 16 April

2011, available from http://www.marksilverberg.com/article/ForeignPolicy/

DemocratizationEffort s/137/.Simpson, G.E. 1985, ‘Religion and Justice: Some Reflections on the Rastafari

Movement’, Phylon, vol. 46, no. 4, pp. 286–291.


22/28

Bibliography 201

Skjelsbaek, I. 2001, ‘Sexual Violence and War: Mapping Out a Complex Relationship’, European Journal of International Relations, vol. 7, no. 2, pp. 211–237.

Skjelsbaek, I. 2006, ‘Victim and Survivor: Narrated Social Identities of Women

Who Experienced Rape during the War in Bosnia-Herzegovina’, Feminism &

Psychology , vol. 16, no. 4, pp. 373–403.Skrabalo, I. 1989/2006, ‘Rani Radovi filmskog Barbarogenija’, Hrvatski Filmski

Ljetopis, no. 45, pp. 71–78.Skrbic, M. 2006, ‘Counting the Dead’, Transitions Online—The Centre for Eastern

European Studies, 4 April, viewed 15 May 2006, available from http://www.csees.net/?page=country_analyses&country_id=2&ca_id=2104.

Slapsak, S. 1996, ‘Zene i rat u bivsoj Jugoslaviji’, Republika, no. 145, viewed17 December 2010, available from http://www.yurope.com/zines/republika/

arhiva/96/145/145-16.html.Slapsak, S. 2002, ‘Luke Balkanwalker Shoots Down Corto Maltese: Milcho

Manchevski’s Dust As An Answer to the Western Cultural Colonialism’, Identities, Journal for Politics, Gender and Culture, vol. 1, no. 3, pp. 95–109.

Slapsak, S. 2003, ‘Two Examples of Gender-Construct in Balkan Literature: Kostas

Tachtsis, Dragoslav Mihajlovic’ , Narodna Umjetnost, vol. 40, no. 1, pp. 81–98.Slapsak, S. 2006, ‘Antički mit, žene i jugoslovenski film???’, Zenicke Sveske, no. 4,

viewed 11 March 2011, available from http://www.zesveske.ba/04_06/0406_1_3.

htm.Slapsak, S. 2007, ‘Representations of Gender as Constructed, Questioned and

Subverted in Balkan Films’, Cineaste, Summer 2007, pp. 37–42.Slapsak, S. 2009, ‘Posleratni rat spolova’, Pescanik, 27 October, viewed 11 November

2009, available from http://www.pescanik.net/content/view/3884/136/.Sofos, S.A. 1996, ‘Inter-ethnic Violence and Gendered Constructions of Ethnicity

in Former Yugoslavia’, Social Identities, vol. 2, no. 1, pp. 73–91.Sontag, S. 2003, Regarding the Pain of Others, Picador, New York.Stankovic, D. 2008, ‘Utisak dana: Romovi ko gromovi!’ , b92 Blog , viewed

19 February 2008, available from http://blog.b92.net/text/2321/Utisak%20

dana:%20Romovi%20ko%20gromovi!/?page=2 .

Stefanovic, D. 2005, ‘Seeing the Albanians through Serbian Eyes: The Inventorsof the Tradition of Intolerance and Their Critics, 1804–1939’, European HistoryQuarterly, vol. 35, no. 3, pp. 465–492.

Stiglmayer, A. (ed.) 1993, Mass Rape: The War Against Women in Bosnia- Herzegovina, University of Nebraska Press, Lincoln.

Stojic, M. 2005, ‘Krstenje’,bhDani, no. 424, 27 July, viewed 23 January 2010 availablefrom http://www.bhdani.com/default.asp?kat=fok&broj_id=424&tekst_rb=3.

Stojic, M. 2006, ‘U ime zivota’, Feral Tribune, no. 1063, viewed 27 February 2007,‘http://feral.mediaturtle.com/look/weekly1/article_sngl.tpl?IdLanguage=7&

I dPublication=1&NrArticle=12780&NrIssue=1063&NrSection=2&ST1=text&ST_T1=kolumna&ST_AS1=1&ST_max=1.

Stojic, M. 2007, ‘Kurva Evropa’, Feral Tribune, no. 113, p.36.Szeman, I. 2009, ‘ “Gypsy Music” and Deejays: Orientalism, Balkanism, and

Romani Musicians’, TDR: The Drama Review , vol. 53, no. 3, pp. 98–116.Tassinari, F. 2009, Why Europe Fears Its Neigbors, ABC Clio, Oxford.Tepavac, M. 2000, Tito: 1945–1980, Burn This House: The Making and Unmaking of

Yugoslavia, ed. J. Udovicki & J. Ridgeway, pp. 64–79.


23/28

202 Bibliography

Thompson, D. 2006, ‘Notes from Berlin … Becoming Hitler’s Opposite’, SolpixOnline, viewed 24 April 2008, http://www.webdelsol.com/SolPix/sp-berlin.htm.

Todorova, M. 2009, Imagining the Balkans, updated edition, Oxford University

Press, New York.Tompuri, E.H. 2004, ‘The Bosnian Women during Serbian Occupation: A Case

Study of Gendered Violence during the Wartime’, MSc thesis, University ofSouth Australia.

Turan, K. 2002, Sundance to Sarajevo; Film Festivals and the World They Made,University of California Press, Berkley.

Udovicki, J. 2000a, ‘The Bonds and the Fault Lines’, in Burn This House: The Making and Unmaking of Yugoslavia, ed. J. Udovicki & J. Ridgeway, DukeUniversity Press, Durham, pp. 11–42.

Udovicki, J. 2000b, “Kosovo”, in Burn This House: The Making and Unmaking of

Yugoslavia, ed. J. Udovicki & J. Ridgeway, Duke University Press, Durham, pp.314–365.

Ugresic, D. 1998, The Culture of Lies, Phoenix House, London.UNICEF , 1996, The State of the world’s children: Sexual Violence as a Weapon of

War, viewed 10 June 2006, http://www.unicef.org/sowc00/unwar1.htm.

Valenti, M.F. 2000, More Than a Movie: Ethics in Entertainment , Westview Press,Oxford.

Vojnovic, V. 2006, ‘Don’t Cry, Poor, Sena!’, Popboks Online, viewed 20 May 2007,http://www.popboks.com/film/grbavica.shtml.

Watson, W.V. 2008, ‘(Dis)solving Bosnia: John Moore’s Behind Enemy Lines and

Danis Tanovic’s No Man’s Land’, New Review of Film and Television Studies, vol.6, no. 1, pp. 51–65.

Weine, S. 2006, Testimony after Catastrophe; Narrating the Traumas of PoliticalViolence, Northwestern University Press, Evanston.

Williams, D. 2006, ‘A Film’s provocative Look at Bosnian War’s Horror’,Washington Post , 28 March, viewed 7 April 2007, http://www.washingtonpost.com/wp-dyn/content/article/2006/03/27/AR2006032701937_pf.html.

Zafranovic, A. 2010, ‘Ne ocekujmo nista od ovakve vlasti’, H-Alter , 17 May,viewed 18 July 2011, available from http://www.h-alter.org/vijesti/kultura/

ne-ocekujmo-nista-od-ovakve-vlasti.

Zalewski, M. 1995, ‘Well, What is the Feminist Perspective in Bosnia?’, International Affairs, vol. 71, no. 2, pp. 339–356.

Zanic, I. 1998, Prevarena povijest; Guslarska estrada, kult hajduka i rat u Hrvatskoj i Bosni i Hercegovini, Durieux, Zagreb.

Zivkovic, M. 2001, ‘Jelly, Slush, and Red Mists: Poetics of Amorphous Substances

in Serbian Jeremiads of the 1990s’, Anthropology and Humanism, vol. 25, no. 2,p. 168–182.

Zizek, S. 1997, ‘Multiculturalism, Or, the Cultural Logic of Multinational

Capitalism’, New Left Review, no. 225/September–October, pp. 28–51.Zizek, S. 2000, The Fragile Absolute, Verso, London.Zizek, S. 2006, [The] Pervert’s Guide to Cinema, Fiennes.Zizek, S. 2008a, ‘Evropa moze biti rjesenje’, bhDani, no. 505, pp. 16–19.Zizek, S. 2008b, In Defence of Lost Causes, Verso, London.Zizek, S. 2009 ‘Hollywood Today: Report from an Ideological Frontline’, Lacan

ink, viewed 17 September 2010, available from http://www.lacan.com/essays/?page_id=347.


24/28

Bibliography 203

Zizek, S. 2010, Living in the End Times, Verso, London.Zmiric, Z. 2005, ‘Ko to Tamo Peva?: Vozi Misko 25 godina poslije’, Popcorn, 1

February, viewed 17 December 2014, available from http://www.popcorn.hr/

special/view/33/.

Zvijer, N. 2009, ‘Ideologija i vrednosti u jugoslovenskom ratnom spektaklu:Prilog sociološkoj analizi filma na primeru Bitke na Neretvi Veljka Bulajića’,

Hrvatski filmski ljetopis, vol. 15, no.57/58, pp. 27–40.


25/28

204

Index

A After, After, 107Agamben, Giorgio, 17

Albanese, Patricia, 68, 75, 104 All the Invisible Children, 151–2Anderson, Benedict, 66

Andric, Ivo, 98, 126, 158–9, 170, 185n,see also The Bridge on the Drina

Anika’s Times, 97–8(the) Anti-Fascist Front of Women

AFZ), 91, 93–4

(The) Author as Producer, 16(the) ‘author’, 16–17, 178

‘authorship aura’, 17

BBadiou, Allan, 15, 159

Balibar, Etienne, 2, 3, 8, 37,

86, 168Banac, Ivo, 36, 61, 62

Barthes, Rolan, 16–17, 178, 180n(The) Battle of Kosovo, 64–5(The) Beauty of the Sin, 100–1Begic, Aida, 167, 168–9, see also Snow Benjamin, Walter, 11–13, 15, 16,

68, 177

Best, Steven, 17–18(The) Big Boss, 25 Black Cat, White Cat, 4, 6, 124, 134,

143, 144–150

(The) ‘Black Wave’, 57, 58, 95, 181n

(The) Blacksmith of Crucifix, 130 Buick Riviera, 171–2Boose, Lynda, 67–8, 68–9, 104,

110, 114(The) Bridge on the Drina, 158–9, 170Brooks, Geraldine, 28–9, see also

People of the Book Buffet Titanic, 126–7, 180nBulajic, Veljko, 60, 181n

Butler, Judith, 14, 34, 63,66–7, 110

Buttler, Ljiljana, 174–5

CCalling the Ghosts: A Story about Rape,

War and Women, 104–5(the) Chetniks, 49, 50, 91, 103,

181n, 182n

cosmopolitanism, 3, 4, 8–9, 10–11,

172, 177critical theory, 4, 11–12, 13, 17

Crowe, David, 41, 156Curak, Nerzuk, 2, 71

DDabcevic-Kucar, Savka, 89

Dakovic, Nevena, 59, 77

(The) ‘Dayton Peace Accord’, 162,163, 185n

(the) ‘death of author’, 16–17

Derrida, Jacques, 4, 10, 73

diagnostic critique, 4, 17–19, 176Djeric, Zoran, 40, 44

Djordjevic, Mirko, 113Djordjevic, Purisa, 57, see also

Morning Do You Remember Dolly Bell, 5, 29–30,

31, 32, 171

Donia, Robert, 21, 22, 23, 164

Drakulic, Slavenka, 84, 120Driscoll, John 56, 181n

Dubrovnik, 31, 161

E Early Works, 57–8, 65Engelen, Leen, 16

(An) Episode in the Life of an Iron Picker, 175

(The) European Union, 1–3

FFisk, Robert, 74

For Those Who Can Tell No Tales, 170Foucault, Michel, 10, 16,

74, 180n

Fraser, Angus, 41, 125, 140, 183n


26/28

Index 205

GGypsy Magic , 4, 6, 131, 134,

135–143, 160

Gmelch, George, 135

Gocic, Goran, 46, 58, 148, 150,152, 184n

(The) Golden Wheel Film Festival,136, 174

Goulding, Daniel, 45, 46, 55, 56, 57,

58, 76, 92, 96, 97Grbavica, 4, 105–122,Guardian Angel, 134, 184nGuca-Distant Trumpet, 150–1Guerard, Albert, 12–13

Gypsy Birth, 135(The) Gypsy Wedding, 129, 130

H Hamlet, 150, 151 Hanka, 130Hannerz, Ulf, 10, 73Hattam, Robert, 11

Hemon, Aleksandar, 165, 166

Holbrooke, Richard, 162, 163

Holocaust, 8, 26, 28, 125, 127, 128, 129Homer, Sean, 46, 59, 60, 129

Horton, Andrew, 32–3, 52, 93, 132, 151

I I Even Met Happy Gypsies, 130–1, 160(The) ‘Illyrians’, 37–8, 41

Images from the Corner , 108 In the Land of Blood and Honey , 170–1Iordanova, Dina, 22, 32, 46, 47, 48,

54, 65, 70, 71, 79, 88, 128, 135,143, 144, 145, 148, 150, 152, 160,

180n, 184n

Izetbegovic, Alija, 163, 164

J

Jakisa, Miranda, 77 Jameson, Fredric, 71, 87, 132, 172

Jancar-Webster, Barbara, 91

Jergovic, Miljenko, 22, 24, 25–6, 29,30, 31, 33, 34, 83, 171. 173

Jolie, Angelina, 170–1, see also In the Land of Blood and Honey

Jovanovic, Tatjana, 9

Jovanovic, Soja 96–7

KKaradzic, Radovan, 75–6, 106, 116,

118, 119, 163

Karanovic, Mirjana, 106, 109, 119,

121–2, 182nKaranovic, Srdjan, 98, 99, 100, 102

see also Petria’s WreathKellner, Douglas, 4, 11–12, 13–14, 15,

17–19, 78, 176, 180n, 182n

Kenedi trilogy), 174(The) Killing Fields, 178, 179Kopic, Mario, 3, 9

Kosanovic, Dejan, 40, 44, 129,130, 131

Kostic, Marko, 173Kovac, Mirko, 33, 34

Kovacevic, Dusan, 59, 88, 132, 180n

Kronja, Ivana, 98, 182nKrvavac, Hajrudin, 22, 23, 60,

181n

Kusturica, Emir, 4, 5, 17, 29, 30–4,46–7, 143–4, 152, 153–4, 159,

172–3, 175, 177–8, 180n, 181n, see

also All the Invisible Children; Black

Cat, White Cat; Buffet Titanic; DoYou Remember Dolly Bell; Guernica; Promise me This; Time of the Gypsies;When Father was Away on the Business

LLevi, Pavle, 46, 49, 51, 65–6Little, Allan, 75

(The) Living and the Dead, 79Loach, Ken, 84Lovrenovic, Ivan, 3, 54

Lucev, Leon, 109, 171–2

MMagas, Branka, 61, 62, 75, 102

Malcolm, Noel, 20, 40, 43, 64, 75Mann, Lena, 57, 58

the) Manaki brothers, 45–6, 87,

180n, 182nMarjanovic, Zana, 168

Markowitz, Fran, 20, 21, 161,183n, 185n

Mijatovic, Cvijetin, 31, 180n

Mijovic, Nikola, 100–1


27/28

206 Index

Milosevic, Slobodan, 33–4, 52, 63–5,66, 69, 71–2, 154, 163, 173, 181n

Miskovska-Kajevska, Ana, 91, 93, 94

Mladic, Ratko, 69, 106, 118, 119

Mujic, Nazif, 175–6 Montevideo, God Bless You, 42 Morning, 57Mueller, John, 78, 82–3

NNikolic, Zivko, 99–101, see also The

Beauty of the Sin(The) Ninth Circle, 126No Man’s Land , 4, 5, 79–81, 85,

172, 182n

OOccupation in 26 Scenes, 126(The) Old Timer , 65–66Ordinary People, 4, 6, 77, 82–4, 85,

172, 182n(the) Other, 4, 5, 6, 7, 9, 10–11, 16,

73, 124, 125, 177, 179

PPapic, Zarana, 103

Papic, Zarko, 129 Partisan Stories, 56–7Pasovic, Haris, 167Pasqualino, Caterina, 130, 184n

Pavicic, Jurica, 171, 172

Pavlica, Damian, 61, 62, 69, 70 People of the Book, 28–9Perisic, Vladimir, 6, 79, 82, 83, 85,

see also Ordinary PeoplePerisic, Vuk, 3, 49, 50–1, 54–5, 59, 61,

62–3, 70–1, 72, 75, 181n

Perovic, Latinka, 42, 54, 89Pesic, Vesna, 63, 66, 67, 68, 75, 121

Petria’s Wreath, 98–9, 109Petrovic, Aleksandar, 130–1, 160;

see also I Even Met Happy GypsiesPejkovic, Sanjin, 33–4

[The] Pianist, 26–7Planinc, Milka, 88–90, 102

Polanski, Roman, 26–7‘political hermeneutics’, 4, 17–18

Popov, Stole, 6, 124, 131, 135–6,

141, 143, 150, see also Gypsy Magic;Gypsy Birth

Porrajmos, 125, 128, 157, 183n Pretty Village, Pretty Flame, 79,

119, 183n

Promise me This, 173

Prpa-Jovanovic, Branka, 37–9, 41,42–3, 49, 50, 52

Buffet Titanic, 126–7, 180nPuttnam, David, 178

RRamet, Sabrina, 101

Ranjicic, Gina, 160

Rankovic, Radenko, 130 Red Rubber Boots, 107–8

‘red western’, 59, 77Rusinovic, Goran, 171–2, see also

Buick Riviera

SSaid, Edward, 11–12, 16–17, 47

Sakic, Tomislav, 15, 55Santic, Aleksa, 165

Sarajevo Film festival (SFF), 166–7,

169–170, 172, 173, 174–5

(The) Sarajevo Haggadah, 28, 180nSavic, Obrad, 3, 73

(The) Scent of Quinces, 26–8, 29,126, 183n

Sejdic, Dervo, 128Sell, Louis, 162, 163, 164

Serbian Epic, 75–6Sesic, Rada, 23, 35, 60, 77Seven Kilometres North-East, 170Shuto Orizari, 136–7

Sidran, Abdulah, 29, 30,31, 96

Sijan, Slobodan, 95, 132, see also

Who is Singing Out There?Silber, Laura, 75, 163

Skjelsbaek, Inger, 104

Skrabalo, Ivo, 33Slapsak, Svetlana, 86, 88, 91, 93, 94,

95, 96, 97–8

Slavica, 92–3, 102Snow , 167–9Sontag, Susan, 84, 111, 182nSrebrenica, 69, 75, 81, 105, 157

‘St George Day’, 135, 184n

Stimac, Slavko, 171–2Stojic, Mile, 3, 105, 106, 152


28/28

Index 207

TTanovic, Danis, 5, 79–80, 85,

175, see also An Episode in the Life of an Iron Picker, No

Man’s Land Tepavac, Mirko, 60, 70

Time of the Gypsies, 32–3, 134, 135,136, 144, 145, 152

Tito, Josip Broz, 50, 53–4, 60, 62, 71,

90, 141, 173, 181n, 182nTodorova, Maria, 9, 46

UUdovicki, Jasminka, 38, 40, 43, 70

Ugresic, Dubravka, 114Ulysses’ Gaze, 45–6, 87–8Underground , 5, 17, 37, 46–60, 70–1,

79, 86–7, 88, 132, 143–4, 149,173–4, 175, 177, 178, 184

Ukraine, 72, 178–9, 185n

(The) Ustase, 26, 28, 44, 49, 50,91, 103, 125, 126–7, 181n, 182n

V

Vercoe, Kym, 170, see also For ThoseWho Can Tell No Tales; Seven Kilometres North-East

Vesovic, Marko, 184n

Visegrad, 24, 102, 157–8, 170, see alsohe Bridge on the Drina

Vukovar, 2, 35, 161

WWalter defends Sarajevo, 22–3, 35, 60When Father was Away on the Business,

5, 31–2, 95, 148

Who is Singing Out There?, 132–3,184n

‘Women in Black’, 119–20

(The) Work of Art in the Age of Mechanical Reproduction, 12–13

ZZanic, Ivo, 75, 76, 182n

Zbanic, Jasmila, 6, 17, 106, 107–9,119, 120, 169, see also After, After; For Those Who Can Tell No Tales; Images from the Corner; Grbavica; Red Rubber Boots

Zilnik, Zelimir, 57–8, 65–6, 174,

see also Kenedi (trilogy); Early

Works; The Old Timer izek, Slavoj, 3, 25, 42, 46–7, 79, 90,

110, 124, 148, 152, 177vijer, Nemanja, 15

murtic_notes and biblio

Documents