This article focuses on the political dimension of Ante Marković’s attempt to reform the federation of Yugoslavia during his mandate as prime minister between 1989 and 1991. While the literature about the crisis and dissolution of Yugoslavia has usually depicted Marković as the initiator of crucial reforms in the economic domain but having limited action outside of those measures, here the attention is devoted to his agency in the political domain, namely: 1) the attempt to redesign the institutional framework to restore the fundaments of Yugoslav statehood, 2) the introduction of a state-wide multiparty system that would recreate a supra-national demos, and 3) the reanimation of the historical and symbolic principles of democratic Yugoslavism.
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.
The aim of this paper is to explore the cinematic history and memory of socialism and broadly of Yugoslavia throughout XXth century as narrativised and represented in the films of Mila Turajlić Cinema Komunisto (2010) and The Other Side of Everything (Druga strana svega, 2017). Accordingly the cinematic texts are understood as: 1) the texts of cultural memory that construct the remembrance of the past and history of Yugoslavia; 2) as cinematic lieux de memoire or field of tensions of memory and history, textual and metatextual layers, fiction and faction; 3) as texts that brilliantly perform the turn from “film about history” to being a “memory-making film” while keeping the two facets. The two case studies are contextualized within the previous tradition of Yugoslav cinema as well as within the larger group of archive films made in 2010s.
The Eurovision Song Contest, as an important part of the entertainment industry, has offered European countries a platform for national promotion. The original format has developed over 60 years and has come under scrutiny and criticism as allegations of block voting, politics and nationalism have been raised. It has also been argued that similarity of cultures, linguistic connections, and close national identities, rather than national interests and politics, are what actually bring countries together in this competition. This study has two focuses in an attempt to determine what role the contest has had for participating countries and how they have used it. The first focus is on analysing historical incidents at the competition when countries have attempted to politicise the contest.