![]() ![]() “The Truth about Overidentification.” The Truth of Žižek. Interrogation Machine: Laibach and the NSK. “The Eighteenth Brumaire of Louis Bonaparte.” Surveys from Exile: Political Writings, Vol. The Destruction of Yugoslavia - Tracking the Break Up 1980-92. Stanford, California: Standford University Press, 2007. Disintegration in Frames: Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema. “My Imposture.” Le Monde 26 October 1995: 13 Shropshire, UK: Central Europe Review, 2000. “Showtime Brothers! A vision of the Bosnian war: Srdan Dragojevic’s Lepa sela, lepo gore.” The Celluloid Tinderbox: Yugoslav screen reflections of a turbulent decade. Krstic, Igor “Representing Yugoslavia? Emir Kusturica’s Underground and the Politics of Postmodern Cinematic Historiography.” Tijdschrift voor Mediageschiedenis. The Political Unconscious: Narrative as a Socially Symbolic Act. Cinema of Flames: Balkan Film, Culture and the Media. The Celluloid Tinderbox: Yugoslav screen reflections of a turbulent decade. Cambridge: Cambridge Scholars Press, 2007, pp. “Nationalism, Ideology and Balkan Cinema: Re-reading Kusturica’s Underground.” Did Somebody Say Ideology? Slavoj Žižek and Consequences. “Narratives of History, Narratives of Time.” On Jameson: From Postmodernism to Globalism. “The NATO Powers and the Balkan Tragedy.” New Left Review (I) 2234 ((March/April 1999): 83-105. Bloomington: Indiana University Press, 2002. Liberated Cinema: The Yugoslav Experience. Notes from the Underground: The Cinema of Emir Kusturica. “The Dream Propaganda of Emir Kusturica.” Liberation 30 October 1995: 7 “Kusturica’s Imposture.” Le Monde 2 June 1995: 16 Balkan as Metaphor: Between Globalization and Fragmentation Cambridge, Mass: MIT Press, 2005.įinkielkraut, Alain. “Global aesthetics and Serbian cinema in the 1990s.” East European Cinemas. ![]() See Šešic (2006) for a discussion of Walter Defend Sarajevo and Levi 64-67 for an analysis of the New Primitivs’ interest in the film.ījelic, Dušan I. ![]()
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