@article{Janica_2018, title={Time networks: history and synchronicity in contemporary Croatian cinema}, volume={23}, url={https://pressto.amu.edu.pl/index.php/i/article/view/17024}, DOI={10.14746/i.2018.32.01}, abstractNote={<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>Th</span><span>e paper demonstrates the prominence of network narratives (</span><span>fi</span><span>lms with several autonomous storylines, globally popular since the mid-</span><span>1990</span><span>s) in post-Yugoslav, particularly Croatian, cinema, with examples such as </span><span><em>Metastases</em> </span><span>(</span><span>2009</span><span>), </span><span>Th</span><span>e Reaper </span><span>(</span><span>2014</span><span>), </span><span><em>You Carry Me</em> </span><span>(</span><span>2015</span><span>), </span><em>Th</em><span><em>e Constitution</em> </span><span>(</span><span>2016</span><span>), </span><em>Th</em><span><em>e Trampoline</em> </span><span>(</span><span>2017</span><span>), etc. Unlike network narratives elsewhere, these </span><span>fi</span><span>lms o</span><span>ft</span><span>en thematize history, with parallel stories typically set during World War II and the Yugoslav Wars of the </span><span>1990</span><span>s. </span><span>Th</span><span>is has been said to suggest as a circular, synchronic vision of history, a “transhistorical dance macabre” as a leitmotif of Balkan cinema. </span><span>Th</span><span>e </span><span>fi</span><span>lms </span><span><em>Witnesses</em> </span><span>(</span><span>2003</span><span>) and </span><em>Th</em><span><em>e High Sun</em> </span><span>(</span><span>2015</span><span>), together with a group of multi-narrative plays, i.e.<em> </em></span><em>Th</em><span><em>e Last Link</em> </span><span>(</span><span>1994</span><span>)</span><span>, </span><em>3 </em><span><em>Winters</em> </span><span>(</span><span>2014</span><span>) and </span><span><em>Men of Wax</em> </span><span>(</span><span>2016</span><span>), are analysed as vehicles of counter-memory to such self-Balkanizing representations.</span></p></div></div></div>}, number={32}, journal={Images. The International Journal of European Film, Performing Arts and Audiovisual Communication}, author={Janica, Tomić}, year={2018}, month={grudz.}, pages={5–14} }