Abstract
The article is an attempt to present selected Croatian new war films as media of memory of the war of the 1990s in the countries of the former Yugoslavia. The authoress is primarily interested in the narrative structure of the presented forms of mediated memory. In the three analysed films, a medium of memory is identified as: ideological (Madonna, Neven Hitrec, 1999), mimetic (Witnesses, Vinko Brešan, 2003), and poietic (The Living and the Dead, Kristijan Milić, 2007), which allows her to draw conclusions about the heterogeneous, dialectical nature of the corpus of Croatian new war films.
References
Assmann A., Przestrzenie pamięci. Formy i przemiany pamięci kulturowej [w:] Pamięć zbiorowa i kulturowa. Współczesna perspektywa niemiecka, red. M. Saryusz-Wolska, Kraków 2009.
Assmann J., Kultura pamięci [w:] Pamięć zbiorowa i kulturowa. Współczesna perspektywa niemiecka, red. M. Saryusz-Wolska, Kraków 2009.
Birkholc R., Podwójna perspektywa. O subiektywizacji zapośredniczonej w filmie. Kraków w2019.
Bohrer K. H., Styl jest uderzający. O przemocy jako procedurze estetycznej [w:] Ł. Musiał (wybór, wstęp i oprac.), Języki przemocy (ss. 467–488). Poznań 2014.
Domovinski rat [w:] Hrvatska enciklopedija, mrežno izdanje, eds. D. Brozović, A. Kovačec, S. Ravlić, Zagreb 2021, http://www.enciklopedija.hr/Natuknica.aspx?ID=15884 [dostęp: 11.04.2024].
Erll A., Kultura pamięci. Wprowadzenie (tłum. A. Teperek). Warszawa 2011.
Girard R. Apokalipsa tu i teraz, tłum. C. Zalewski, Kraków 2018.
Goulding D. J., Liberated cinema: The Yugoslav experience, 1945–2001. Bloomington 2003.
Hitrec H., Smogovci u ratu. Zagreb 1994.
Iordanova D., Cinema of flames: Balkan film, culture and the media, London 2001. DOI: https://doi.org/10.5040/9781838710019
Jadrijević T. S., Neki iznosi su šokantni „Dubrovački vjesnik”, https://dubrovacki.slobodnadalmacija.hr/dubrovnik/moskar/zabava/serija-quot-general-quot-kostala-je-milijune-u-financiranje-se-ukljucile-brojne-tvrtke-zupanije-opcine-i-gradovi-neki-glumci-ostali-bez-honorara-a-ocjena-na-imdb-u-je-katastrofalna-644376 [dostęp: 18.09.2024]
Jagielski S., Ekstatyczne eksplozje. Wajda, afekty i reparacja, „Teksty Drugie” 2018, nr 1, s. 343–357. DOI: https://doi.org/10.18318/td.2018.1.19
Jelača D., Dislocated screen memory. Narrating trauma in post-Yugoslav cinema, London 2016. DOI: https://doi.org/10.1057/9781137502537
(k-p), Nasza ankieta. Jakie tematy chcemy oglądać na ekranie?, „Film” 1947, nr 9–10, s. 10.
Kaniewska B., Mimetyzm formalny w polskiej prozie współczesnej, „Pamiętnik Literacki: czasopismo kwartalne poświęcone historii i krytyce literatury polskiej” 1992, nr 3, s. 95–128.
Kurz I. Zakazane piosenki (wykład), Warszawa 2011; https://akademiapolskiegofilmu.pl/pl/historia-polskiego-filmu/archiwum-wykladow/50177/50177 [dostęp: 1.03.2024].
Lorenc I., Zacieranie granic: fikcja – rzeczywistość a sztuka współczesna [w:] Dystynkcje estetyczne. Wyróżnienie i wykluczenie, red. T. Pękala, Lublin 2020, s. 21–40.
Mlakić J., Živi i mrtvi, Zagreb 2002.
Nasza ankieta. Jakie tematy chcemy oglądać na ekranie?, „Film” 1946, nr 7, s. 11.
Pająk P., Postjugosłowiański nowy film wojenny (na przykładzie chorwackim) [w:] Europejskie kino gatunków 3, red. P. Kletowski, Kraków 2021, s. 81–102.
Pavičić J., From a cinema of hatred to a cinema of vonsciousness: Croatian film after Yugoslavia [w:] „Kino Kultura” 2011, nr 11 (Croatia), red. A. Vidan, G. P. Crnković, https://www.kinokultura.com/specials/11/pavicic.shtml [dostęp: 18.04.2024].
Pavičić J., Ovce od gipsa, Zagreb 1997.
Pavičić J., Postjugoslavenski film. Stil i ideologia, Zagreb 2011.
Polimac N. Film o Anti Gotovini, „Jutarnji list” 2019, 14.08.2019; https://www.jutarnji.hr/kultura/film-i-televizija/nenad-polimac-je-vrdoljakovog-generala-pogledao-drugi-put-slab-film-s-trash-elementima-i-nizom-scena-nekorektnih-prema-srbima-9231452 [dostęp: 18.09.2024]
Ricoeur P., Time and Narrative, vol. 3 (tłum. K. Blamey, D. Pellauer), Chicago 1988. DOI: https://doi.org/10.7208/chicago/9780226713533.001.0001
Sasse S., Patos i antypatos. Formuły patosu u Siergieja Eisensteina i Aby’ego Warburga (tłum. P. Piszczatowski), „Widok. Teorie i praktyki kultury wizualnej” 2014, nr 6; https://www.pismowidok.org/pl/archiwum/2014/6-obraz-patos/patos-i-antypatos [dostęp: 20.11.2023]. DOI: https://doi.org/10.36854/widok/2014.6.1114
Stryjek T., Współczesna Serbia i Chorwacja wobec własnej historii. Warszawa 2020.
Šošić A., Film i rat u Hrvatskoj. Refleksije jugoslavenskih ratova u hrvatskom igranom filmu, „Hrvatski filmski ljetopis” 2009, nr 64–65, http://www.hfs.hr/hfs/zapis_clanak_detail.asp?sif=32527
Škrabalo I. 101 godina filma u Hrvatskoj: 1896.–1997., Zagreb 1998.
Tomić J., Time networks: history and synchronicity in contemporary Croatian Cinema, „Images. The International Journal of European Film, Performing Arts and Audiovisual Communication” 2018, nr 23, s. 5–14. DOI: https://doi.org/10.14746/i.2018.32.01
Weichert K., Od schematyzmu transcendentalnego do montażu. Pojetyczny i krytyczny model wyobraźni, Warszawa 2021. DOI: https://doi.org/10.31338/uw.9788323551638
Wyniki wielkiej ankiety „Filmu”, „Film” 1947, nr 12, s. 6.
Zenderowski R., Religa a tożsamość narodowa i nacjonalizm w Europie środkowo-wschodniej. Między etnicyzacją religii a sakralizacją etnosu (narodu), Wrocław 2011.
Zwierzchowski P., Kino nowej pamięci. Obraz II wojny światowej w kinie polskim lat 60., Bydgoszcz 2013.
Žunec O., Bagić D., Galić B., Bulian L., Gašpar M., Ivanković I., Katavić M., Pavlović K., Weisglass M., Procjena broja žrtava seksualnog nasilja tijekom Domovinskog rata na području Republike Hrvatske i optimalni oblici obeštećenja i podrške žrtvama. Sociološko istraživanje, Zagreb 2013; https://branitelji.gov.hr/UserDocsImages//arhiva/pdf//Studija_o_seksualnom_nasilju%20_HR1.pdf [dostęp: 14.05.2024].
License
Copyright (c) 2024 Anna Boguska
This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.
- The Author hereby warrants that he/she is the owner of all the copyright and other intellectual property rights in the Work and that, within the scope of the present Agreement, the paper does not infringe the legal rights of another person.The owner of the copyright work also warrants that he/she is the sole and original creator thereof and that is not bound by any legal constraints in regard to the use or sale of the work.
- The Author grants the Purchaser non-exclusive and free of charge license to unlimited use worldwide over an unspecified period of time in the following areas of exploitation:
2.1. production of multiple copies of the Work produced according to the specific application of a given technology, including printing, reproduction of graphics through mechanical or electrical means (reprography) and digital technology;
2.2. marketing authorisation, loan or lease of the original or copies thereof;
2.3. public performance, public performance in the broadcast, video screening, media enhancements as well as broadcasting and rebroadcasting, made available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them;
2.4. inclusion of the Work into a collective work (i.e. with a number of contributions);
2.5. inclusion of the Work in the electronic version to be offered on an electronic platform, or any other conceivable introduction of the Work in its electronic version to the Internet;
2.6. dissemination of electronic versions of the Work in its electronic version online, in a collective work or independently;
2.7. making the Work in the electronic version available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, in particular by making it accessible via the Internet, Intranet, Extranet;
2.8. making the Work available according to appropriate license pattern Attribution-NoDerivatives 4.0 International (CC BY-ND 4.0) as well as another language version of this license or any later version published by Creative Commons. - The Author grants the Adam Mickiewicz University in Poznan permission to:
3.1. reproduce a single copy (print or download) and royalty-free use and disposal of rights to compilations of the Work and these compilations.
3.2. send metadata files related to the Work, including to commercial and non-commercial journal-indexing databases. - The Author declares that, on the basis of the license granted in the present Agreement, the Purchaser is entitled and obliged to allow third parties to obtain further licenses (sublicenses) to the Work and to other materials, including derivatives thereof or compilations made based on or including the Work, whereas the provisions of such sub-licenses will be the same as with the attributed license pattern Attribution-NoDerivatives 4.0 International (CC BY-ND 4.0) or another language version of this license, or any later version of this license published by Creative Commons. Thereby, the Author entitles all interested parties to use the work, for non-commercial purposes only, under the following conditions:
4.1. acknowledgment of authorship, i.e. observing the obligation to provide, along with the distributed work, information about the author, title, source (link to the original Work, DOI) and of the license itself.
4.2. the derivatives of the Work are subject to the same conditions, i.e. they may be published only based on a licence which would be identical to the one granting access to the original Work. - The University of Adam Mickiewicz in Poznań is obliged to
5.1. make the Work available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, without any technological constraints;
5.2. appropriately inform members of the public to whom the Work is to be made available about sublicenses in such a way as to ensure that all parties are properly informed (appropriate informing messages).
Other provisions
- The University of Adam Mickiewicz in Poznań hereby preserves the copyright to the journal as a whole (layout/stylesheet, graphics, cover design, logo etc.)