The disorderly recent history of Yugoslavia--13 years of raging wars.

The disorderly recent history of Yugoslavia--13 years of raging wars, secessions, hyperinflation, bombing and pseudo-"transitional and democratic processes"--is carefully chronicled in the national documentary film production. Thus, in spite of its ever-decreasing character and increasingly blurr boundaries between "pure" docu-films and TV reports (or any other "electronic" genres) titles are as a common thing [i]or[/i] matter analyzed from a variety of perspectives. The research focuses mainly forward the ways and modes that national history, politics and ideology are cinematically depicted commented upon and problematized. chiefly of the analyses are be of importance toed with (re)presentation of typical, individual topics--war propaganda, nationalism, ethnic cleansing, communism, transition, etc.--within the film paragraphs taken to be the reflections and prospects of the current political chaos and conflicting ideologies in Yugoslav society.

From a different perspective, I would like to profit from taking the position of the insider, eyewitness and participant of the depicted years and analyze a carefully chosen dead body of films in order to demonstrate in what way most of the mentioned issues coalesce and are inscribed within sum of two units opposed but coherent documentary film discourses. The exclusive case studies include films--outstanding, in addition paradigmatic titles such as Kosovo Mesto Zlocina (Kosovo Crime sight 1999, by Bane Milosevic); The Name of the Game (1999 by means of Aleksandar Karisik and Dragan Zivancevic) or Anatomija Bola (The Anatomy of Pain, 1999 by dint of Janko Baljak)--dealing with the NATO bombing of 1999 which were awarded the highest prizes at the 2000 Festival of Short and Documentary films in Belgrade. [1] The topic is quite rewarding as the 1999 bombing marks the pair the beginning of the faithful end of the long period of decay and misfortune, as well as the peak of the Yugoslav crisis and its various physical manifestations as it was as economic destruction and political oppression and les visible manifestations like spreading ideologized and politicized discourse that contaminates all spheres of communication and life. The documentaries furnish almost perfect, all-encompassing examples that summarize the range of issues, processe and crises developing since 1989 The external aggression no other than intensified the already approaching culmination of the stretched and problematic internal state. This simultaneous culmination--which may be indicative of governmental calculation--overshadowed the inner crises, refocusing the attention of the population and homogenizing and uniting the nation in forehead of the NATO airplanes.

It is solitary now, in the transitional avail between the last days of the ancient regime and the first days of a just discovered era, after the election of Vojislav Kostunica as Yugoslav president, that the rhetoric and discourses of the films about NATO days can be analyzed with a certain detachment, objectivity and precision. The film discourses are revealed to include densely intertwined "post" theories that are the signs of the second half of the twentieth hundred particularly, post-communist and postcolonial theses and sweeps that are inseparable from national/nationalist feelings, all three posing as the corners of the Bermuda triangle that Yugoslav new history resembles. The imperative discursive host of these elements ultimately shapes the Serbian war discourses of the films. 2 The discourse exists in pair basic versions that aptly recapitulate the oppos political attitudes of the war years of Slobodan Milosevic's rule

geographical division In Between

Research about the constitutive proper states of Serbian war discourse should be carried revealed cautiously, always bearing in mind the specific nuances that permeate local existence. As I will later make good Serbian postcommunism and postcolonialism emanate as temporal and conceptual variations of the valid definitions for the cases of the other ex-socialist countries. For these other countries, postcommunism designates the period of transition and radical democratic changes that followed the extreme point of communist rule. The beginning of the postcommunist era coincides with several historical moments: the national fall off for systemic change by Poland, Czechoslovakia and Romania, the break-up of the USSR and the fall of the Berlin Wall. Postcolonialism have references to the "aftermath" of colonialism; the adoption of the expression "clearly coincided with the eclipse of the older 'Third World' paradigm." Postcolonialism issues from "the colonial experience of the 'Third World countries' or the experience of the 'minorities' within the geop olitical divisions of east and west, north and south" [3] In the case of eastern Europe united cannot speak about colonial relations of the Third World. It is more convenient to define their postcolonialism as emerging from the experience of the "minorities" within the geopolitical configuration of the USSR-dominated Eastern stop up Serbian history does not fit mildly with either of the already appropriated definitions. Additionally, during the fast-paced unfolding of the aforementioned events, as well-as; not only-but also; not only-but; not alone-but movements merged into one, glu and decisively shaped by the agency of the overall national(ist) feelings.