LEADER 02345nam  22006493  450 
001 9911020827903321
005 20260126110033.0
010   $a1-04-079581-1
010   $a1-04-080073-4
010   $a1-003-70185-X
010   $a90-485-5958-8
024 8 $ahttps://doi.org/10.5117/9789048559572
035   $a(CKB)40380521200041
035   $a(MiAaPQ)EBC32291581
035   $a(Au-PeEL)EBL32291581
035   $a(OCoLC)1523007686
035   $a(NjHacI)9940380521200041
035   $a(MiAaPQ)EBC32333657
035   $a(Au-PeEL)EBL32333657
035   $a(OCoLC)1545124128
035   $a(NYHLS)217212
035   $a(ScCtBLL)36516b1d-d091-4158-8aaa-ead59b6352b0
035   $a(EXLCZ)9940380521200041
100   $a20250912d2025      uy         0
101 0 $aeng
135   $aur|||||||||||
181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 10$aPost-Yugoslav Cinema and the Shadows of War $eA Study of Non-Representation in Film
205   $a1st ed.
210  1$aAmsterdam :$cAmsterdam University Press,$d2025.
210  4$dİ2025.
215   $a1 online resource (240 pages)
225 1 $aFilm Culture in Transition Series
311 08$a90-485-5957-X 
327   $aList 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.
330   $aBosnia-Herzegovina is still considered a post-war country.The concept of "post-war" implies that the country and its people are tied more strongly to the past than they are oriented towards the future.
410  0$aFilm Culture in Transition Series
606   $aFilm installations (Art)
606   $aMotion pictures$xFormer Yugoslav republics
608   $aDiscursive works
608   $aCritical Writing.$2fast
615  0$aFilm installations (Art)
615  0$aMotion pictures$xFormer Yugoslav republics.
676   $a709.22
700   $aMakarevic?$b Asja$00
712 02$aCoo?rdesign,
712 02$aCrius Group,
712 02$aLibrary Stack,
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9911020827903321
996   $aPost-Yugoslav Cinema and the Shadows of War$94432659
997   $aUNINA