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Klaudija Sabo Ikonen Der Nationen

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Klaudija Sabo Ikonen Der Nationen Klaudija Sabo Ikonen der Nationen Klaudija Sabo Ikonen der Nationen Heldendarstellungen im post-sozialistischen Kroatien und Serbien Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 469-Z28 ISBN 978-3-11-051848-1 e-ISBN (PDF) 978-3-11-052096-5 e-ISBN (EPUB) 978-3-11-051861-0 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliografische Information der Deutschen Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover Image: Klaudija Sabo: Tito unter Einmachgläsern, 2016. Foto: Klaudija Sabo (Inspiriert von dem Film Rane, von Srđan Dragojevic, aus dem Jahr 1998) Open Access: Wo nicht anders festgehalten, ist diese Publikation lizenziert unter der Creative- Commons-Lizenz Namensnennung 4.0 Typesetting: Dr. Rainer Ostermann, München Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Unglücklich das Land, das Helden nötig hat. (Bertolt Brecht) Danksagung Das vorliegende Buch ist eine geringfügig überarbeitete Version der Arbeit, mit der ich im März 2016 an der Universität Wien am Institut für Zeitgeschichte am Schwerpunkt Visuelle Zeit und Kulturgeschichte dissertiert habe und für die ich kurz darauf den Georg R. Schroubek Dissertationspreis des Sonderfonds Östliches Europa im Jahr 2016 der Ludwig Maximilian Universität München erhalten habe. Meinem Doktorvater Frank Stern (Universität Wien), mit dem ich im Rahmen meiner Stelle als Assistentin in Ausbildung an der Universität Wien am Schwer- punkt Visuelle Zeit- und Kulturgeschichte von 2008–2012 zusammengearbeitet habe, möchte ich für seine Unterstützung und seine Ratschläge ganz herzlich danken. Während meiner Assistenzzeit und danach hatte ich zahlreiche Male die Möglichkeit meine Dissertation in dem von Frank Stern geleiteten Kolloquium vorzustellen. Meinem Zweitgutachter Andreas Heinemann-Grüder (Universität Bonn) danke ich ebenfalls herzlich für die weiterführenden Anregungen und die Begleitung der Dissertation sowie die Erstellung des Gutachtens. Besonders hilfreich bei der Erstellung der Arbeit war der intensive Austausch während meiner zahlreichen Auslandsaufenthalte im ex-jugoslawischen Raum. Hierfür möchte ich nochmals ganz herzlich Herrn Szabo und dem ÖAD danken, der mir mit dem Marietta Blau Stipendium den Auslandsaufenthalt ermöglichte. Während meines Aufenthalts in Zagreb war mir vor allem Branimir Becić (Zeitzeuge) eine große Hilfe, neben vielen anderen ZeitzeugInnen, der wichtige Ergänzungen zu der Interpretation der politischen Lage sowie der Darstellung der SoldatInnen geleistet hat. Zudem möchte ich mich bei Kolleginnen und Kol- legen aus den Fächern der osteuropäischen Geschichte, Medienwissenschaft, Kunstgeschichte und Politikwissenschaft für den Austausch bedanken. Auch wenn ich nicht alle hier nennen kann, möchte ich doch einige besonders hervor- heben: Tihomir Cipek (Universität Zagreb), Nikica Gilić (Universität Zagreb), Vla- dimir Ćuk (Filmarchiv Belgrad), Nevena Daković (Universität Belgrad), Borislav Stanojević (Filmarchiv Belgrad), Gabriel Montua, Goran Musić (Universität Graz), Anna Schober (Universität Gießen) und Ulf Brunnbauer (Regensburg). Schließlich möchte ich noch dem Sonderforschungsbereich der Universität Freiburg danken, der mir durch den achtmonatigen Aufenthalt am integrierten Graduiertenkolleg „Helden, Heroismen und Heroisierungen“ im Sommersemes- ter 2015 ermöglichte, weitere wichtige Anregungen einzubauen und die Arbeit zu finalisieren. Weitere finanzielle Unterstützung habe ich dem Körner Fonds zu verdan- ken, welcher die Arbeit mit einem Dissertationspreis für laufende Arbeiten aus- zeichnete. Open Access. © 2017 Klaudija Sabo, publiziert von De Gruyter. Dieses Werk ist lizenziert unter der Creative Commons Attribution 4.0 International (CC BY 4.0). https://doi.org/10.1515/9783110520965-202 VIII Danksagung Besonders möchte ich mich auch noch für die wichtigen Denkanstöße bei mei- nem Lektor Philipp Koch bedanken, der die Dissertation beharrlich und gründlich redigiert und kommentiert hat. Für die finanzielle Förderung der Produktion dieses Buches im DeGruyter Verlag möchte ich ganz herzlich dem FWF-Fonds zur Förderung von wissenschaft- licher Forschung danken. Inhaltsverzeichnis Inhaltsverzeichnis Danksagung VII 1 Einleitung: (Visueller) Umbruch im ex-jugoslawischen Raum 1 1.1 Theoretische Konzepte in der Erforschung von Gründungsmythen und deren HeldInnenfiguren 10 1.2 Methodische Konzepte für visuelle Quellen: Intermedialität und Intervisualität 21 1.3 Forschungsstand, Aufbau und Quellen 28 2 Tito: Demontage und Wiederauferstehung einer Staats-Ikone 37 2.1 Gründungsmythos Tito 37 2.1.1 Die Macht der Bilder, Bilder der Macht 37 2.1.2 Tito stirbt – sein Bild bleibt 41 2.1.3 Das Ende der (visuellen) Rituale 48 2.2 Heldendämmerung – Der (visuelle) Tod Titos 50 2. 2.1 Bilder der (Ohn)Macht 50 2.2.2 Tod der Bilder 52 2.2.3 Srđan Dragojevićs Rane (1998) – Ablöse der Helden 58 2.3 Tito – der chronisch Untote 66 2.3.1 Želimir Žilniks Tito po drugi put među Srbima (1994) – Die Auferstehung 66 2.3.2 Vinko Brešans Maršal – Tito: Body Nostalgia 77 2.3.3 Tito: Body Utopia 86 2.4 Conclusio: Die drei Phasen Titos 87 3 Serbien: Kult um das Vergangene – Kontinuitäten und Brüche 89 3.1 Zur (Re)Konstruktion nationaler HeldInnenfiguren 89 3.1.1 Historischer Einblick: Die Schlacht auf dem Amselfeld 92 3.1.2 Vergangenheit in der Gegenwart – Die 600-jährige Jubiläumsfeier 1389/1989 94 3.2 Mythische HeldInnen im Bild 97 3.2.1 Die Schlacht auf dem Amselfeld Reloaded 101 3.2.2 Zdravko Šotras Boj na Kosovu/Die Schlacht auf dem Kosovo (1989) 103 3.2.3 Das Kosovomädchen im Bild 112 3.3 Mythen im Spiegel des Parodistischen 118 3.3.1 Srđan Dragojevićs Lepa Sela Lepo Gore (1996) – Mythen ohne Aura 118 3.3.2 Srđan Dragojevićs Rane (1998) – Asphalthelden 133 X Inhaltsverzeichnis 3.4 Conclusio: Historische versus kosmopolitische Mythen 144 Inhaltsverzeichnis 4 Kroatien: Zwischen Sieges- und Friedensbekundungen 146 4.1 Gründungsmythos Heimatkrieg (1991–1995) 146 4.1.1 Medienikonen: Der Soldat und das V-Zeichen 149 4.1.2 Das V-Zeichen als Marker nationaler Narrative 153 4.1.3 Soldaten und ihre Kinder in der künstlerischen Inszenierung 161 4.2 Der (un)heldenhafte Soldat und die umsorgende Frau 164 4.2.1 Oje Kodars Vrijeme Za...(1993) – Mutter Courrage 164 4.2.2 Tomislav Radićs Anđele moj dragi (1996) – der heilige Krieger 176 4.2.3 Pflegerinnen, Kriegerinnen und Mütter 181 4.2.4 Neven Hitrecs Bogorodica (1999) – Josef und Maria im neuen Gewand 184 4.3 Das heil(ig)e Bild gerät ins Wanken 192 4.3.1 Vinko Brešans Kako je počeo rat na mom otoku (1996) – Helden gesucht 192 4.3.2 Vinko Brešans Svjedoci (2003) – Opfer als Täter 195 4.4 Conclusio: Tradition und Neuanfang 201 5 Conclusio – Das Heldenpasspartout?! 204 5.1 NachfolgerInnen gesucht 204 5.2 Vergleich: Darstellungen von Soldaten/Kriegern in Kroatien und Serbien 208 5.3 Das heldenhafte Zeitalter 211 Anhang Abbildungsverzeichnis 215 Abkürzungsverzeichnis 218 Filmographie 219 Literaturverzeichnis 220 Register 231 1 Einleitung: (Visueller) Umbruch im ex-jugoslawischen Raum Einleitung: (Visueller) Umbruch im ex-jugoslawischen Raum Die Darstellung der Mythen sind (...) lauter ,Ikonen der Nation‘ im religiösen und liturgischen Sinne des Wortes. „Als Helden kennt ihn die ganze Welt, glücklich das Land welches ihn hat, erin- nern wird man sich an ihn Jahrhunderte lang, es lebe Jugoslawien“1 lauten die letzten Strophen des Liedes „Es lebe Jugoslawien/Živela Jugoslavija“, von Lepa Brena, einer der populärsten Sängerinnen Jugoslawiens, aus dem Jahr 1985. Mit „Held“ war während des Sozialismus in Jugoslawien kein anderer als Tito gemeint. Anhand seiner Person und des von ihm mit ausgefochtenen und angeführten Par- tisannInnenkampfes wird die neue politische Ära bzw. der Befreiungskampf im Sinne eines Neuanfangs nach dem Zweiten Weltkrieg assoziiert. Folglich gerät das Land mit seinem Tod im Jahre 1980 und dem elf Jahre später ausbrechen- den Krieg in eine wahrhafte „HeldInnen(sinn)krise“. Zahlreiche neue und alte HeldInnenfiguren werden herangeführt, um die Leerstelle Titos auszufüllen und der neu ausgerufenen Nation (der jeweiligen Teilrepubliken) ein Fundament zu geben.2 Die zentrale Frage der Arbeit, die sich unmittelbar darauf stellt, ist, wer oder was nach dem Zusammenbruch des Staatenverbundes Jugoslawiens an die Stelle des einstigen „Helden unserer Nationen“3 tritt und damit jenes Identitäts- potential wiederherstellt bzw. herzustellen sucht. Dieser zentralen Frage wird im vorliegenden Buch vor allem anhand einer vergleichenden Untersuchung inner- halb künstlerischer Produktionen in Kroatien und Serbien4 nachgegangen. 1 „Es lebe Yugoslawien/Živela Jugoslavija“ von Lepa Brena, aus dem Jahr 1985: „Tu je rođen maršal Tito, naše ime ponosito, k'o heroja ceo svet ga zna, blago zemlji što ga ima, pamtit će se vekovima, živela Jugoslavija“. 2 Nation wird hier nach Benedict Anderson als eine „imagined comunity“ verstanden, die nur in der Vorstellung ihrer Gemeinschaft existiert. Obwohl die Mitglieder einer Nation die anderen Mitglieder nicht kennen, existiert jedoch die Vorstellung einer Gemeinschaft. Vgl.: Bendedict Anderson: Die Erfindung der Nation. Zur Karriere eines folgenreichen Konzepts, aus dem Engli- schen v. Benedikt Burhard, Frankfurt/Main. Campus Verlag 1993, 15f. 3 Der sich
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