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Home , Body Scent, Feral Tribune, Guns of War, Hajrudin Krvavac, I Even Met Happy Gypsies, Muharem Serbezovski

Notes

1 Theoretical and Methodological Considerations

1. According to Kellner (2010, p. 43) the term ‘cinema’ has richer connotations than ‘film’, as cinema refers to ‘the system of production, distributional, reception, as well as the , styles and aesthetics’. Thus from now on, by following Kellner’s logic, I will use film and cinema interchangeably to describe past and contemporary cinema in . 2. I am referring here to Foucault’s essay ‘What is an Author?’ (1994) and Barthes’ essay ‘The Death of Author’ (1977).

2 Once Upon a Time in

1. See Chapter 3 for further discussion of this issue. 2. The Sarajevo Haggadah is an illuminated manuscript that contains the illus- trated traditional text of the Passover Haggadah which accompanies the Passover Seder. It is one of the oldest Sephardic Haggadahs in the world, origi- nating from Spain. The Haggadah is presently owned by the Bosnian National Museum in Sarajevo, where it is on permanent display. 3. Kusturica’s TV films are Nevjeste dolaze/The brides are comingg (Kusturica 1978) and Bife Titanik/Buffet Titanic (1979). I will briefly discuss Buffet Titanicc in Chapter 6. 4. Cvijetin Mijatovic (1913–1992) became the first President of the joint Yugoslav Presidency after Tito’s death in May 1980. He presided over the Yugoslav Presidency for one year.

3 An Historical Fable of a Country That Is No More

1. Janaki (1878–1954) and Milton (1882–1964) Manaki are considered to be the Balkans’ pioneering filmmakers. They were born in the land that is part of Macedonia today and their ethnic origin is Vlach—a minority group that still lives in mountainous parts of Bulgaria, Greece, , Kosovo and Macedonia. The brothers spent most of their productive life in the Macedonian town of Bitola, where they owned a photographic studio and cinema theatre. After their death, the impressive archive of their static and moving images was deposited in the Macedonian film archive. The annual Manaki Brothers International Film Camera Festival, commemorating them, is held in Bitola. The two scenes I discuss are from the film Spinning Women in Avdela and can be seen on YouTube: http://www.youtube.com/watch?v=1jnoC3MQqVY. 2. See Chapter 5 for more insight into Ulysses’ Gaze. 3. For the film’s script, Kusturica collaborated with Dusan Kovacevic; a leading Serbian scriptwriter. As was case with his previous films, Kusturica worked closely with the playwright; and the script was credited to both (Iordanova 2002, p. 75).

180 Notes 181

4. Zeljko Raznjatovic (Arkan) was a criminal figure who turned into a high- profile Serbian warlord whose paramilitary units were responsible for one of the most gruesome crimes against non-Serb civilians during the conflict in and Bosnia-Herzegovina. In 1999, the ICTY issued a warrant for his arrest and charged him with crimes against humanity. He never faced trial, as he was assassinated by a member of ’s underworld in 2000. 5. The last Yugoslav census in 1981 showed that Albanians were the fourth largest ethnic/national group. Numerically, only Serbs, Croats and (Slavic) Muslims had a larger population than the Albanians. The number of Slovenes was almost equal to the number of Albanians. The Macedonians and Montenegrins had smaller populations than the Albanians (Hodson et al. 1994). 6. The Tito-Stalin Split was a conflict between the leaders of Socialist Federal Republic of and the USSR, which resulted in Yugoslavia’s expul- sion from the Communist Information Bureau in 1948. For further informa- tion regarding this topic see Perovic (2007). 7. In the article ‘Tito’s default’, particular segments of which I am either para- phrasing or citing here, despite his overall argument, which is in general favourable towards Tito and his historical role, Perisic does not forget to mention the crimes committed in the name of Communism in Yugoslavia. Most noticeably, Perisic underlines the execution of Ustasa and Chetnik war prisoners, the harassment and forced expulsion of the Austrian, German, Italian and Hungarian minorities immediate after the end of World War II, the persecution of Stalin’s supporters after the split between Tito and Stalin in 1948, and the harassment and persecution of political dissidents. 8 John Paul Driscoll was a documentary filmmaker based in New Orleans. He collected the material for the article I cite here while shooting an about Yugoslavia. 9. The best-known filmmaker within the Black Wave movement was Dusan Makavajev. Other prominent filmmakers within the movement were Jovan Jovanovic, Lazar Stojanovic, Zivojin Pavlovic, Bata Cengic, Krsto Papic and Zelimir Zilnik. For further reading about the cinema see DeCuir (2011). 10. I will pay closer attention to the of in Chapter 4. 11. Bulajic’s partisan film Bitka na Neretvi/Battle for Neretva (1969) was nomi- nated for an Oscar in the category for best non-English film in 1970. 12. In his semi-biographical novel Smrt je neprovjerena glasina (2010), Kusturica describes Siba (Hajrudin) Krvavac as a close family friend and person who had had a prevailing influence on his decision to become a filmmaker. 13. As a term, ‘anti-bureaucratic revolution’ refers to a series of carefully- orchestrated mass protests against the of the Yugoslavian republics and autonomous provinces during 1988 and 1989, which led to the resignations of the leaderships of Kosovo, and Montenegro and the consequent capture of power by politicians loyal to Slobodan Milosevic. For further reading see Vladisavljecic (2008).

4 Ordinary Men at War

1. For centuries, the gusle had been the most popular folk instrument in Serbia, Montenegro, Macedonia, , and southern parts of 182 Notes

Croatia. This musical instrument was played and appreciated by all ethnic groups living in these territories. However, all but the Serbs and Montenegrins abandoned the gusle in the late 1980s. The reason for this sudden rejection, according to Zanic (1998), lies in the fact that the gusle, due to its prominent presence in Serbian nationalistic discourse of the time, became an exclusive sig- nifier for the Serbian cultural domain. Nowadays, it is almost impossible to see, hear or read about the gusle in areas dominated by Croats or Bosnian Muslims. 2. Vuk Stefanovic Karadzic (1787–1864) is considered as one of the most impor- tant reformers of the Serbian language. He was also a passionate collector and promoter of the Serbian folk tradition. 3. The 1990s Yugoslav wars were not the first conflict to adopt ‘Rambo style insignia’. As Kellner (1995) writes, in 1985 worn-torn El Salvador, some sol- diers and officers had worn the same ‘bandanna-style headgear as the beefy, bare breasted Rambo’. 4. Amongst numerous awards, No Man’s Land won the Academy Award for the best foreign film in 2002. Ordinary People was winner of the prestigious Critics’ Week award in Cannes for 2009. In the same year, Ordinary People was the overall winner at the Sarajevo Film Festival.

5 Women Speak after the War

1. See Chapter 3 for additional notes about the Manaki brothers. 2. On average, prior to the first multi-party elections, twenty to twenty-five per cent of Yugoslav (republican) parliamentarians were women (see Djuric- Kuzmanovic et al. 2008, p. 287) 3. See Chapters 3 and 6 for further insights on the Ustase and . 4. I mention the Tito-Stalin split in Chapter 3. 5. Both Christine A. Maier and Barbara Albert worked on Zbanic’s second , On the Path (2010), which had its premiere at the 2010 Berlin Film Festival. 6. This news announcement was not subtitled in English in Grbavica’s DVD for English-speaking countries. 7. In 2008, the central Sarajevo square, facing the Bosnian National Theatre, was named after Susan Sontag. 8. For further reading on the turbo-folk music phenomena in the Western Balkans see Baker (2007). See also Kronja (2004). 9. Ilahi is a Muslim religious song which content primarily magnifies the power of God. Ilahi lyrics also offer the unconditional love for God on behalf of the performer/singer. 10. Belgrade’s International Film Festival (FEST) is an annual event, usually scheduled for the end of February. The decision to screen Grbavica at the thirty-fourth FEST in 2006 was initiated by human rights activists from Serbia, and the publicity Zbanic’s debut had gained after the award at the Berlin Film Festival. 11. The Serbian Radical Party (Srpska Radikalna Stranka) is an ultra- nationalist party which in 2006 held a significant number of seats in the Serbian Parliament. Its founder is Dr Vojislav Seselj, whose trial at the ICTY is now in progress. 12. ‘Anti-Serbian propaganda’ is not a strong enough expression for explaining the verbal attacks on Karanovic. In obscure tabloids and threatening letters Notes 183

sent to the actress she was depicted in terms ranging from the ‘Turkish whore’, to the ‘ugly woman turned lesbian because she is undesirable to men’ (see Svett 2006, no. 454; Zbanic 2006, LA Times 14 April). 13. See Chapter 4 for further insights into Pretty Village, Pretty Flame.

6 Roma: The Other in the Other

1. Even if the English-speaking readership of this book may be more familiar with the word ‘Gypsy’, I am insisting on naming these people the Roma or Romani. The reasons are numerous. First and foremost, it was the legitimate decision by the Roma elite. In April 1971 in London, during the first World Romani Congress, delegates from all over Europe adopted the term Roma to describe themselves (Fraser 1992, p. 317). Second, while the term ‘Gypsy’ has become so pervasive that some Romani associations use it in their own organisational names, this word still has pejorative connotations in English-speaking socie- ties. The idiom ‘to gyp’, often used in the United States, describes a particular lifestyle related to stealing or deceiving. Perhaps, many Americans do not know that the etymon gyp originates from the word Gypsy. The apparently non-racist, yet persistent, use of the expression ‘to gyp’ in American colloquial English does not make it any less wrong. In the end, ‘gyp’ does signify a whole ethnic group as ‘cheaters’. In times which are behind us, some (previously) oppressed groups such as Jews, Irish or African Americans, either through political, cultural or lobbying activities, managed to expel related offensive terms from use in everyday language. The Roma community still does not have this potential. The equivalent for the English word ‘Gypsy’ in South Slavic languages is Cigan (pronounced as Tzigan). The acute misuse of this term in former Yugoslavia shows up in a passage of the Anti-discrimination Act 1971, which specifically prohibits the word Cigan, considering it offensive (Memedova et al. 2005, pp. 48–49). Then, in Romania in 2010, the Roma were tried to be redefined as Tzigani by the state parliament in an effort to prevent using Romani as the official term because it could be confused with Romanian. The Romanian general public initiated this redefinition due to the unprecedented fury over a French sports journalist who labelled the Romanian national soccer team ‘Gittano (Gypsy) virtuosos’. Further embarrassment on behalf of Romanians and their politicians was interrupted by the Romanian upper house, the Senate, which rejected the proposal. I will use the terms Roma and Romani interchangeably, except when referring to the original work from the authors. The word ‘roma’ is derived from the word ‘rom’, which means human being/man in the (s). In the English language, Romani is an adjective that can also be a noun. 2. ‘Porrajmos’ is a Romani word symbolically equal to the meaning of the word Holocaust. 3. See Chapter 2 for further discussion of The Scent of Quinces. 4. For further reading regarding Jews living in contemporary Sarajevo see Markowitz, F. (2010) Sarajevo: A Bosnian Kaleidoscope, University of Illinois Press, Chicago. 5. Tisa (played by Gordana Jovanovic) is the only leading actor in Petrovic’s film who is of Romani origin. Bekim Fehmi (Bora) is an Albanian from Kosovo, while Bata Zivojinovic (Mirta) and Olivera Vuco (Lenka) are Serbs. 184 Notes

While Fehmi, Zivojinovic and Vuco have had colourful careers either in theatre or cinema, Jovanovic only appeared twice: in Petrovic’s film It Rains in My Village (1977) and ten years later in Guardian Angel (Paskaljevic 1987). Both roles were small. 6. For an interesting introductory discussion on the all-European stereotypical portrait of Roma in cinema see: Pasqualino, C. (2008) ‘The Gypsies, Poor but Happy’, Third Textt, vol.22, no.3, pp. 337–345. 7. These two memorable roles in Sijan’s film are played by cousins Miodrag and Nenad Kostic. 8. According to Croatian writer and publicist Zoran Zmiricc (2005), there is one interesting connection between Sijan’s Who is Singing Out There? and Kusturica’s Underground. Originally, the last scene in Who is Singing Out There—where the bus, upon its arrival in Belgrade, is destroyed by a Nazi air raid—was supposed to have a massive animal escape from the Belgrade zoo. However, due the death of Tito, the Yugoslav borders remained shot down for a period of time and the animals, owned by an Italian circus, were not delivered to the film’s set. Fifteen years later, the scene with animals escaping from Belgrade zoo is revived in Kusturica’s Underground. This time the animals are used for the opening scene. But they still mark the German bombardment of Belgrade in the early hours of 6 April 1941. 9. As Kusturica’s and Paskaljevic’s films have been written on extensively before (see Iordanova 2001, 2002; Gocic 2001), I am not paying close attention to them in this chapter. 10. St George’s Day (Herdalejzi in the Romani language or Djurdjevdan in South Slavic languages) is the most significant holiday for the Balkans’ Roma of all faiths. Herdalejzi is originally an Orthodox Christian holiday that has been incorporated into Romani communities regardless of their religion, and is celebrated in a manner particular to that community. 11. Both the Macedonian Cinema Information Centre and the Internet Movie Database (IMDB), refer to the film’s title only in the English language. 12. In the Balkans, this tradition is not strictly related to Roma. Marko Vesovic, a poet and literary professor at Sarajevo University of Montenegrin Orthodox Christian origin, recalls his childhood trauma with bitterness. On the day of his mother’s funeral, he was forced by his uncles to take care of the food cooked for the funeral’s guests. 13. By and large, most Dervishes and their numerous Dervish orders are Sunni Muslims who follow Sufi teaching, a mystic stream of . 14. The Guca Trumpet Festival is a three-day feast of brass music with a forty- year tradition. It is an annual festival located in the south Serbian town of Guca. 15. Kusturica was accused of stereotypical presentation of Roma. The Roma council of Europe wrote a protest letter to the UN, who was the sponsor of the project. 16. Kosovo has been recognised by the US, United Kingdom, Germany, France, Italy, Holland, Croatia, Bulgaria, Turkey, etc. However, Russia, Spain, China and number of other states have not recognised Kosovo’s de facto independ- ence from Serbia. 17. ‘Mouse’ is slang originating from Sarajevo. It describes a coward or extremely unpopular person. Notes 185

18. I wrote briefly about this medieval event, deeply embedded in Serbian public discourse, in Chapter 3. 19. Radio and television/RTV b92 are Belgrade-based media best known for their criticism of everyday political norms during Milosevic’s era. 20. As the only Nobel Prize Laureate from the former Yugoslavia, Andric and his prose have been the topic of numerous scholarly articles and essays, both in English and South Slavic languages.

Conclusion: Sarajevo and One Illusion in August

1. So far, in this book, I have used the terms Muslims, Bosnian Muslims and South Slavic Muslims to describe and other South Slavs who have adhered to Islam since the 15th and 16th centuries. In the former Yugoslavia, the official name (recognised in the Constitution since 1972) for this Yugoslav nation of South Slavic origin used to be Muslims (Muslimani). The Bosnian Muslim intellectual and political elite, however, changed it to in 1993. The main purpose for this change was to avoid confusion with the reli- gious term Muslim. Historically, Bosniak (Bosnianin) described an inhabitant living in medieval, pre-Ottoman Bosnia. Thus, as Markowitz (2010, p. 63) indicates, the eponym Bosniak, unlike the term Muslim, makes a direct link to Bosnia. Since, both geographically and culturally, Bosnia is part of Europe, the eponym Bosniak further indicates the inseparable link between South Slavic Muslims and the rest of Europe. I use the eponym Bosniak from this point as it coincides with the historical time-frame in the book’s narrative. 2. The Dayton Accord is the peace agreement for Bosnia-Herzegovina that was reached at Wright-Patterson Air Force Base near Dayton, Ohio in November 1995, under the guidance of the US . This agreement, signed by the Serbian, Croatian and Bosnian presidents, put an end to the war in Bosnia-Herzegovina. 3. The Orange Revolution was a series of protests and political events that took place in the Ukraine from late November 2004 to January 2005. The revolu- tion was the response to the 2004 Ukrainian presidential election, which was claimed to have been marred by massive corruption, voter intimidation and direct electoral fraud. Kiev, the Ukrainian capital, was the focal point of the movement’s campaign. Nationwide, the Orange Revolution was highlighted by a series of acts of civil disobedience and general strikes. Filmography

After, Afterr (Zbanic 1997) Bosnia. All the Invisible Children—Blue Gypsyy (Kusturica 2006) France/Italy/Serbia. Andrei Rublevv (Tarkovsky 1969) Soviet Union. Anika’s Times (Pogacic 1954) Yugoslavia. (Kusturica 1993) United States/France. (The) Battle of Kosovo (Sotra 1989) Yugoslavia. Beautiful People (Dizdar 1999). (The) Beauty of the Sin (Nikolic 1986), Yugoslavia. (The) Big Boss (Wei 1971) Hong Kong. Black Cat, White Catt (Kusturica 1998) France/Serbia/Austria/Germany/Greece/ United States. The Blacks (Devic & Juric, 2009) Croatia. (The) Blacksmith of Crucifix (Hanus 1920) The Kingdom of Serbs, Croats and Slovenes. Bobby (Kapoor 1973) . Buffet Titanic (Kusturica 1978) Yugoslavia. Buick Riviera (Rusinovic 2008) Croatia/Bosnia. Calling the Ghosts: A Story about Rape, War and Women (Jacobson & Jelincic 1996) United States. Do You Remember Dolly Bell (Kusturica 1981) Yugoslavia. Early Works (Zilnik 1969) Yugoslavia. For Those Who Can Tell No Tales (Zbanic 2013) Bosnia & Herzegovina, Qatar, Germany. Geet (Sagar 1978) India. Gypsy Magic (Popov 1997) Macedonia. Grbavica (Zbanic 2006) Austria/Bosnia/Germany/Croatia. Guardian Angel (Paskaljevic 1986) Yugoslavia. Guca-Distant Trumpet (Milic 2006) Serbia. Guernica (Kusturica 1977) Czechoslovakia. Gypsy Birth (Popov 1979) Yugoslavia. (The) Gypsy Girl (Nanovic 1953) Yugoslavia. Hamlet (Rajkovic 2006) Serbia. Hanka (Vorkapic 1955) Yugoslavia. How the War Started on My Islandd (Bresan 1996) Croatia. (Petrovic 1967) Yugoslavia. Images from the Corner (Zbanic 2003) Bosnia. In the Land of Blood and Honey (Jolie 2011) United States. Kenedi Goes Back Home (Zilnik 2003) Serbia. Kenedi is Getting Married (Zilnik 2007) Serbia. Kenedi, Lost and Found (Zilnik 2005) Serbia. (The) Killing Fields (Joffé 1984) United Kingdom. The Living and the Deadd (Milic 2007) Croatia. Lukina’s Jovana 1979 (Nikolic 1979) Yugoslavia.

186 Filmography 187

Montevideo, God Bless You (Bjelogrlic 2010) Serbia. Morning (Djordjevic 1967) Yugoslavia. Nafaka (Dukarkovic 2006) Bosnia. No Man’s Land (Tanovic 2001) Bosnia/France/Slovenia/Italy/United Kingdom/ Belgium. (The) Ninth Circle (Stiglic 1960) Yugoslavia. Occupation in 26 Scenes (Zafranovic1978) Yugoslavia. (The) Old Timerr (Zilnik 1988) Yugoslavia. Ordinary People (Perisic 2009) France/Serbia/Netherlands/Switzerland. Partisan Stories (Jankovic 1960) Yugoslavia. (The) Pervert’s Guide to Cinema (Fiennes 2006) United Kingdom/Austria/ Netherlands. Petria’s Wreath (Karanovic 1980) Yugoslavia. [The] Pianist (Polanski 2002) France/German/Poland/United Kingdom. Pretty Village, Pretty Flame (Dragojevic 1996) Serbia. Priests Cira and Spira (Jovanovic 1957) Yugoslavia. (Kusturica 2006) Serbia/France. Red Rubber Boots (Zbanic 2000) Bosnia. [The] Scent of Quinces (Izdrizovic1982) Yugoslavia Serbian Epicc (Pawlikowski 1992), United Kingdom. Slavica (Afric 1947) Yugoslavia. Snow (Begic 2008) Bosnia/France/Germany/Italy/Iran. (Kusturica 1989) Yugoslavia/Italy/United Kingdom. Ulysses’ Gaze (Angelopoulos 1995) Greece/France/Italy/Germany/United Kingdom/Serbia/Bosnia/Albania/Romania. Underground (Kusturica 1995) Serbia/France/Hungary/Bulgaria/Czech Republic. Unseen Wonder (Nikolic 1984) Yugoslavia. (Krvavac 1972) Yugoslavia. When Father was Away on the Business (Kusturica 1984) Yugoslavia. Who is Singing Out There? (Sijan 1981) Yugoslavia. Bibliography

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A C After, After, 107 Calling the Ghosts: A Story about Rape, Agamben, Giorgio, 17 War and Women, 104–5 Albanese, Patricia, 68, 75, 104 (the) Chetniks, 49, 50, 91, 103, All the Invisible Children, 151–2 181n, 182n Anderson, Benedict, 66 cosmopolitanism, 3, 4, 8–9, 10–11, Andric, Ivo, 98, 126, 158–9, 170, 185n, 172, 177 see also The Bridge on the Drina critical theory, 4, 11–12, 13, 17 Anika’s Times, 97–8 Crowe, David, 41, 156 (the) Anti-Fascist Front of Women Curak, Nerzuk, 2, 71 (AFZ), 91, 93–4 (The) Author as Producer, 16 D (the) ‘author’, 16–17, 178 Dabcevic-Kucar, Savka, 89 ‘authorship aura’, 17 Dakovic, Nevena, 59, 77 (The) ‘Dayton Peace Accord’, 162, B 163, 185n Badiou, Allan, 15, 159 (the) ‘death of author’, 16–17 Balibar, Etienne, 2, 3, 8, 37, Derrida, Jacques, 4, 10, 73 86, 168 diagnostic critique, 4, 17–19, 176 Banac, Ivo, 36, 61, 62 Djeric, Zoran, 40, 44 Barthes, Rolan, 16–17, 178, 180n Djordjevic, Mirko, 113 (The) Battle of Kosovo, 64–5 Djordjevic, Purisa, 57, see also (The) Beauty of the Sin, 100–1 Morning Begic, Aida, 167, 168–9, see also Snow Do You Remember Dolly Bell, 5, 29–30, Benjamin, Walter, 11–13, 15, 16, 31, 32, 171 68, 177 Donia, Robert, 21, 22, 23, 164 Best, Steven, 17–18 Drakulic, Slavenka, 84, 120 (The) Big Boss, 25 Driscoll, John 56, 181n Black Cat, White Cat, 4, 6, 124, 134, Dubrovnik, 31, 161 143, 144–150 (The) ‘Black Wave’, 57, 58, 95, 181n E (The) Blacksmith of Crucifix, 130 Early Works, 57–8, 65 Buick Riviera, 171–2 Engelen, Leen, 16 Boose, Lynda, 67–8, 68–9, 104, (An) Episode in the Life of an Iron 110, 114 Picker, 175 (The) Bridge on the Drina, 158–9, 170 (The) European Union, 1–3 Brooks, Geraldine, 28–9, see also People of the Book F Buffet Titanic, 126–7, 180n Fisk, Robert, 74 Bulajic, Veljko, 60, 181n For Those Who Can Tell No Tales, 170 Butler, Judith, 14, 34, 63, Foucault, Michel, 10, 16, 66–7, 110 74, 180n Buttler, Ljiljana, 174–5 Fraser, Angus, 41, 125, 140, 183n

204 Index 205

G K Gypsy Magic, 4, 6, 131, 134, Karadzic, Radovan, 75–6, 106, 116, 135–143, 160 118, 119, 163 Gmelch, George, 135 Karanovic, Mirjana, 106, 109, 119, Gocic, Goran, 46, 58, 148, 150, 121–2, 182n 152, 184n Karanovic, Srdjan, 98, 99, 100, 102 (The) Golden Wheel Film Festival, see also Petria’s Wreath 136, 174 Kellner, Douglas, 4, 11–12, 13–14, 15, Goulding, Daniel, 45, 46, 55, 56, 57, 17–19, 78, 176, 180n, 182n 58, 76, 92, 96, 97 Kenedi (trilogy), 174 Grbavica, 4, 105–122, (The) Killing Fields, 178, 179 Guardian Angel, 134, 184n Kopic, Mario, 3, 9 Guca-Distant Trumpet, 150–1 Kosanovic, Dejan, 40, 44, 129, Guerard, Albert, 12–13 130, 131 Gypsy Birth, 135 Kostic, Marko, 173 (The) Gypsy Wedding, 129, 130 Kovac, Mirko, 33, 34 Kovacevic, Dusan, 59, 88, 132, 180n H Kronja, Ivana, 98, 182n Hamlet, 150, 151 Krvavac, Hajrudin, 22, 23, 60, Hanka, 130 181n Hannerz, Ulf, 10, 73 Kusturica, Emir, 4, 5, 17, 29, 30–4, Hattam, Robert, 11 46–7, 143–4, 152, 153–4, 159, Hemon, Aleksandar, 165, 166 172–3, 175, 177–8, 180n, 181n, see Holbrooke, Richard, 162, 163 also All the Invisible Children; Black Holocaust, 8, 26, 28, 125, 127, 128, 129 Cat, White Cat; Buffet Titanic; Do Homer, Sean, 46, 59, 60, 129 You Remember Dolly Bell; Guernica; Horton, Andrew, 32–3, 52, 93, 132, 151 Promise me This; Time of the Gypsies; When Father was Away on the I Business I Even Met Happy Gypsies, 130–1, 160 (The) ‘Illyrians’, 37–8, 41 L Images from the Cornerr, 108 Levi, Pavle, 46, 49, 51, 65–6 In the Land of Blood and Honey, 170–1 Little, Allan, 75 Iordanova, Dina, 22, 32, 46, 47, 48, (The) Living and the Dead, 79 54, 65, 70, 71, 79, 88, 128, 135, Loach, Ken, 84 143, 144, 145, 148, 150, 152, 160, Lovrenovic, Ivan, 3, 54 180n, 184n Lucev, Leon, 109, 171–2 Izetbegovic, Alija, 163, 164 M J Magas, Branka, 61, 62, 75, 102 Jakisa, Miranda, 77 Malcolm, Noel, 20, 40, 43, 64, 75 Jameson, Fredric, 71, 87, 132, 172 Mann, Lena, 57, 58 Jancar-Webster, Barbara, 91 (the) Manaki brothers, 45–6, 87, Jergovic, Miljenko, 22, 24, 25–6, 29, 180n, 182n 30, 31, 33, 34, 83, 171. 173 Marjanovic, Zana, 168 Jolie, Angelina, 170–1, see also In the Markowitz, Fran, 20, 21, 161, Land of Blood and Honey 183n, 185n Jovanovic, Tatjana, 9 Mijatovic, Cvijetin, 31, 180n Jovanovic, Soja 96–7 Mijovic, Nikola, 100–1 206 Index

Milosevic, Slobodan, 33–4, 52, 63–5, Porrajmos, 125, 128, 157, 183n 66, 69, 71–2, 154, 163, 173, 181n Pretty Village, Pretty Flame, 79, Miskovska-Kajevska, Ana, 91, 93, 94 119, 183n Mladic, Ratko, 69, 106, 118, 119 Promise me This, 173 Mujic, Nazif, 175–6 Prpa-Jovanovic, Branka, 37–9, 41, Montevideo, God Bless You, 42 42–3, 49, 50, 52 Morning, 57 Buffet Titanic, 126–7, 180n Mueller, John, 78, 82–3 Puttnam, David, 178

N R Nikolic, Zivko, 99–101, see also The Ramet, Sabrina, 101 Beauty of the Sin Ranjicic, Gina, 160 (The) Ninth Circle, 126 Rankovic, Radenko, 130 No Man’s Land, 4, 5, 79–81, 85, Red Rubber Boots, 107–8 172, 182n ‘red western’, 59, 77 Rusinovic, Goran, 171–2, see also O Buick Riviera Occupation in 26 Scenes, 126 (The) Old Timerr, 65–66 S Ordinary People, 4, 6, 77, 82–4, 85, Said, Edward, 11–12, 16–17, 47 172, 182n Sakic, Tomislav, 15, 55 (the) Other, 4, 5, 6, 7, 9, 10–11, 16, Santic, Aleksa, 165 73, 124, 125, 177, 179 Sarajevo Film festival (SFF), 166–7, 169–170, 172, 173, 174–5 P (The) Sarajevo Haggadah, 28, 180n Papic, Zarana, 103 Savic, Obrad, 3, 73 Papic, Zarko, 129 (The) Scent of Quinces, 26–8, 29, Partisan Stories, 56–7 126, 183n Pasovic, Haris, 167 Sejdic, Dervo, 128 Pasqualino, Caterina, 130, 184n Sell, Louis, 162, 163, 164 Pavicic, Jurica, 171, 172 Serbian Epic, 75–6 Pavlica, Damian, 61, 62, 69, 70 Sesic, Rada, 23, 35, 60, 77 People of the Book, 28–9 Seven Kilometres North-East, 170 Perisic, Vladimir, 6, 79, 82, 83, 85, Shuto Orizari, 136–7 see also Ordinary People Sidran, Abdulah, 29, 30, Perisic, Vuk, 3, 49, 50–1, 54–5, 59, 61, 31, 96 62–3, 70–1, 72, 75, 181n Sijan, Slobodan, 95, 132, see also Perovic, Latinka, 42, 54, 89 Who is Singing Out There? Pesic, Vesna, 63, 66, 67, 68, 75, 121 Silber, Laura, 75, 163 Petria’s Wreath, 98–9, 109 Skjelsbaek, Inger, 104 Petrovic, Aleksandar, 130–1, 160; Skrabalo, Ivo, 33 see also I Even Met Happy Gypsies Slapsak, Svetlana, 86, 88, 91, 93, 94, Pejkovic, Sanjin, 33–4 95, 96, 97–8 [The] Pianist, 26–7 Slavica, 92–3, 102 Planinc, Milka, 88–90, 102 Snow, 167–9 Polanski, Roman, 26–7 Sontag, Susan, 84, 111, 182n ‘political hermeneutics’, 4, 17–18 Srebrenica, 69, 75, 81, 105, 157 Popov, Stole, 6, 124, 131, 135–6, ‘St George Day’, 135, 184n 141, 143, 150, see also Gypsy Magic; Stimac, Slavko, 171–2 Gypsy Birth Stojic, Mile, 3, 105, 106, 152 Index 207

T Visegrad, 24, 102, 157–8, 170, see also Tanovic, Danis, 5, 79–80, 85, The Bridge on the Drina 175, see also An Episode in the Vukovar, 2, 35, 161 Life of an Iron Picker, No Man’s Land W Tepavac, Mirko, 60, 70 Walter defends Sarajevo, 22–3, 35, 60 Time of the Gypsies, 32–3, 134, 135, When Father was Away on the Business, 136, 144, 145, 152 5, 31–2, 95, 148 Tito, Josip Broz, 50, 53–4, 60, 62, 71, Who is Singing Out There?, 132–3, 90, 141, 173, 181n, 182n 184n Todorova, Maria, 9, 46 ‘Women in Black’, 119–20 (The) Work of Art in the Age of U Mechanical Reproduction, 12–13 Udovicki, Jasminka, 38, 40, 43, 70 Ugresic, Dubravka, 114 Ulysses’ Gaze, 45–6, 87–8 Z Underground, 5, 17, 37, 46–60, 70–1, Zanic, Ivo, 75, 76, 182n 79, 86–7, 88, 132, 143–4, 149, Zbanic, Jasmila, 6, 17, 106, 107–9, 173–4, 175, 177, 178, 184 119, 120, 169, see also After, After; Ukraine, 72, 178–9, 185n For Those Who Can Tell No Tales; (The) Ustase, 26, 28, 44, 49, 50, Images from the Corner; Grbavica; 91, 103, 125, 126–7, 181n, 182n Red Rubber Boots Zilnik, Zelimir, 57–8, 65–6, 174, V see also Kenedi (trilogy); Early Vercoe, Kym, 170, see also For Those Works; The Old Timer Who Can Tell No Tales; Seven Zizek, Slavoj, 3, 25, 42, 46–7, 79, 90, Kilometres North-East 110, 124, 148, 152, 177 Vesovic, Marko, 184n Zvijer, Nemanja, 15