Titlebook: Dislocated Screen Memory; Narrating Trauma in Dijana Jelača Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Post-Yugoslav c

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Teaching, Occupational and Further Educationings rather than a rigidly defined concept. Often, this book is about challenging standard understandings of each of the four rather than stabilizing their meanings. But more than anything, it is about their relationship in the elusive cultural context broadly defined by the term “post-Yugoslav cine

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https://doi.org/10.1007/978-3-658-28797-9een war, screen, trauma, and memory, of a kind previously unseen in regional filmmaking. By tracing a fragmented and never fully knowable history of war’s trauma, Ðorđević weaved together a poetic film—Petar Volk refers to it as “elegy” (1986: 169)—that simultaneously speaks to the importance of att

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Schema and Structured Data Markup,ory is partial: things get forgotten, misremembered, repressed” (1995: 184). Memory is constructed through cinema in multifold ways. Sometimes it is an indirect effect of giving the spectator “prosthetic memory” (Landsberg 2004), whereby one acquires, through cinema, inauthentic memories of events t

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Introduction: War Trauma as Screen Memory,ings rather than a rigidly defined concept. Often, this book is about challenging standard understandings of each of the four rather than stabilizing their meanings. But more than anything, it is about their relationship in the elusive cultural context broadly defined by the term “post-Yugoslav cine

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