The Image of the Stranger in Post-Yugoslav Films

  • Renate Hansen-Kokoruš
Films produced during the last two decades in the post-Yugoslav states often deal with the subject of these states’ recent history, focusing on the war and its consequences for human beings, as well as the consequences of political and economic transition, such as an increasing wealth gap, criminality, lack of perspectives, unemployment etc. The methods of presentation and modality range from the serious to the comical and grotesque. As these films reflect in special ways people’s new situation in the new post-Yugoslav countries, questions of self-image, understanding of oneself and of the cruel experiences of war are of utmost importance.

Displaced Film Memories in the post-Yugoslav Context

  • Sanjin Pejković
In this article, I will try to discern a few different stylistic and thematic approaches of memory representation of the former Yugoslavia in the post-Yugoslav context. I will focus on notions of displaced mediated memories that we get from documentary films of the once existing country. A lot has been written on filmic aspects of remembrance in the post-Yugoslav area, the so-called Yugosphere, but not that many studies have concentrated on mediated memories of the diasporic groups outside the area that once constituted Yugoslavia. In order to talk about displaced memories of the former Yugoslavia, I need to establish some ideas of displaced filmmaking, memory conveying and representations of history.

Introduction: Films and Societies in Southeastern Europe

  • Armina Galijaš,
  • Hrvoje Paić
This special issue of Contemporary Southeastern Europe, titled Films and Societies in Southeastern Europe, is a collection of six research articles and one research essay that explore multiple current and historical relations between film productions and societal developments in Southeastern Europe. The issue collects articles written by renowned university professors as well as young highly promising researchers, including one PhD candidate, and thus the volume embraces academic experience together with innovative and fresh ideas and approaches. The seven authors use different academic perspectives including approaches from history, sociology, gender, visual, literature and film studies in order to reflect phenomena of film productions and related societal circumstances that have thus far been researched only rarely or not at all.