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Beyond Nostalgia

“Extrospective Introspections” of the Post-Yugoslav Memory of Socialism

Dalibor Mišina

documentaries I will focus on, Igor Mirković’s Sretno dijete ( A Happy Kid ) 4 and Pjer Žalica’s Orkestar ( The Orchestra ), 5 are both explorations of identity pursued through the mining the Yugoslav socialist past in an attempt to illuminate one’s personal (in the case of Sretno dijete ) or one

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Ljubica Spaskovska

sretno dijete/ Jas sam stvarno sretno dijete” [I grew up with color partisan fi lms/ With folk songs full of pain/ I’m a really happy child/ I’m a really happy child]. Along with an apparent dose of embedded irony, the fi rst two lines are a subtle reference to the two dominant levels of identifi cation