Museums are institutions dedicated to the collection and preservation of artefacts, but they are also sites of national production that contribute to shaping the nation’s collective memory. Sometimes, history exhibited in museums becomes the centre of cultural wars that are not fought on battlefields, but on information panels and showcases: devices where the national past is contested, rewritten, and exhibited. With the coming to power of the Justice and Development Party (AKP) led by Recep Tayyip Erdoğan, the institutional representation of Turkish national history was subject to significant changes. Conforming with the national ideology of the AKP, recently built museums focus more on Turkey’s Ottoman and Islamic heritage, and less on similarly important ones such as the Greek, Roman, Byzantine, and the more recent Kemalist traditions.
Post-Yugoslav cinema is commonly seen as a field abundant in nationalist traits, while the work of post-Yugoslav scholars is criticized for advocating the notion of continuity of nations. However, by analyzing the most representative films from Yugoslav and Post-Yugoslav eras, it can be argued that many traits dominant in post-Yugoslav cinema (not exclusively those connected to the prevalence of nationalism) began long before the actual dissolution of Yugoslavia. However abrupt these historical occurrences might have been, Yugoslavia and its cinema still did not sever all ties with the past: the newly forming national cultural traditions and discourses still shared some traits with traditions and discourses from the Yugoslav period of history.