02345nam 22006493 450 991102082790332120260126110033.01-04-079581-11-04-080073-41-003-70185-X90-485-5958-8https://doi.org/10.5117/9789048559572(CKB)40380521200041(MiAaPQ)EBC32291581(Au-PeEL)EBL32291581(OCoLC)1523007686(NjHacI)9940380521200041(MiAaPQ)EBC32333657(Au-PeEL)EBL32333657(OCoLC)1545124128(NYHLS)217212(ScCtBLL)36516b1d-d091-4158-8aaa-ead59b6352b0(EXLCZ)994038052120004120250912d2025 uy 0engur|||||||||||txtrdacontentcrdamediacrrdacarrierPost-Yugoslav Cinema and the Shadows of War A Study of Non-Representation in Film1st ed.Amsterdam :Amsterdam University Press,2025.©2025.1 online resource (240 pages)Film Culture in Transition Series90-485-5957-X List of Illustrations Preface Introduction I Post-Yugoslav Cinema in the Face of Post-War Culture II Beyond Self-Victimization III Limitations of Non-Representation IV Excavating Memories of War Conclusion Index.Bosnia-Herzegovina is still considered a post-war country.The concept of "post-war" implies that the country and its people are tied more strongly to the past than they are oriented towards the future.Film Culture in Transition SeriesFilm installations (Art)Motion picturesFormer Yugoslav republicsDiscursive worksCritical Writing.fastFilm installations (Art)Motion picturesFormer Yugoslav republics.709.22Makarević Asja0Coördesign,Crius Group,Library Stack,MiAaPQMiAaPQMiAaPQBOOK9911020827903321Post-Yugoslav Cinema and the Shadows of War4432659UNINA