After having outlined all of the films used as subject for analysis, I would like to again highlight the elements that will be focus of this research, before delving into a suitable theoretical framework for their investigation. As tangentially evidenced by the key plot-points above, these elements belong to the individual categories of reflective and restorative nostalgia via the audio-visual and storytelling cues that Dragojevic employs and genre the pervading embededness of black comedy , as well as the ways in which the two interact and evolve across the spectrum of the four films in question.
Nostalgia, in the related sense here, and especially Yugoslav nostalgia — as the derived term — refers to the Socialist Federal Republic of Yugoslavia Yugoslavia , a country that was founded in , in the aftermath of the Yugoslav partisan victory in Second World War, and ceased to exist in , amidst a series of violent army conflicts that disintegrated and disunited the federal republic. However, as Volcic further observes, an important tenet that distinguished Yugoslavia from other Eastern European countries of the time — and simultaneously contributed significantly to the forming of national identity, in an external sense — was its positioning in the context of the East vs.
West geopolitical distinction. Denitch further expands on this idea of the Yugoslav cultural space, by emphasizing the role it had in specifically linking the youth cultures of the constituting republics, predominantly via the music industry and rock bands such as Elektricni Orgazam Electric Orgasm , Bijelo Dugme White Button , Idoli the Idols , etc.
News media outlets played a crucial role in mobilizing a sense of Yugoslavian identity, as they positioned and addressed the citizens of six member-nations by attaching them to a common Yugoslav space. Daily newspapers such as Borba transl. The cumulative effect of such an overall state set-up was the impression whether valid or not among the citizens of Yugoslavia that they belonged to a country that was positively unique in the global arena.
A geographically rich and diverse country with its sea access, mountains, lakes, and other natural benefits that belonged neither here nor there in terms of the East vs. However, at this point it is important to note how the same afore-noted principles of Yugoslav statehood and unity were the ones that led to its demise.
Consequentially, it was precisely in the cultural space that the Yugoslav community was first questioned and contested. When Boym makes her distinction between two kinds of nostalgia, she stresses it is important to not consider either as absolute types, but rather as tendencies — different ways of giving shape and meaning to longing. The reason behind this can be found in the fact that the two might overlap in their frame of reference, but they do not coincide in their narratives and plots of identity Boym, And while this is precisely why I find them to be relevant theoretical tools in a study such as this one — where the potential overlapping frame of reference is contained within a set of films — before jumping to their identification, I will first try to make the distinction between these two kinds of nostalgia more clear on a general basis, and see what kinds of differing narratives and plots of identity define them.
According to Boym, restorative nostalgia, in its essence, proposes to rebuild the lost home and patch up the memory gaps. As such, it has been a key characteristic of national and nationalist revivals all over the world, wherein as Boym notes, it works towards a myth-making out of history by means of a return to national symbols and myths. However, Boym is quick to make an additional distinction within the concept of restorative nostalgia, and how its understanding depends on distinguishing between the habits of the past and the habits of the restoration of the past.
Distance is recompensed by the availability of a desired object, and displacement is cured by a return home preferably a collective one. On the other hand, when Boym talks about reflective nostalgia there is an immediate counterpoint to be found. A logical potential partnership, then, between a reflectively nostalgic approach and the creation of a particular work of art is something that comes to mind as a fitting frame of reference. Reflective nostalgia, on the other hand, can be ironic and humorous.
In addition, it should be noted that Boym makes further distinctions between the two kinds of nostalgia based on how they pertain to the notions of national and collective memory. Specifically, whereas national memory is seen as an essential aspect of restorative nostalgia and has — as such — been previously described , the reflective nostalgic approach is dependent on collective memory interpreted by Boym as being comprised of common landmarks of everyday life that construct social frameworks of individual recollections.
However, to go back to what both kinds of nostalgia share with regards to the nature of this study — and at the same time to provide a bridge to the theoretical concept that follows — neither the restorative nor reflective kind of nostalgia explain the nature of longing, or its psychological make-up and unconscious undercurrents. Before going into the relevant nuances that pertain to the genre of black comedy in this specific case, I should first outline the above mentioned connection between the concept of imagined communities — as introduced and theorized by Anderson — and how it corresponds with the idea of film genre.
The justification that Egea offers in this regard is based on the social and discursive potential of film that is capable of constructing national subjects, if not less, then only more so in comparison with other media. At this point, as a continuation of this line of thought, we can also introduce the notion of film genre in the discussion. Crying of Laughter. S B Savo Bojovic Author.
PDF version for only 1. Add to cart. The Films Although the dissolution of Yugoslavia and all of its constituting republics Serbia, Croatia, Bosnia, Slovenia, Macedonia had already been made official three years prior in , at the time when Dragojevic was shooting the first of the four outlined films Pretty Village Pretty Flame in , the war over still-disputed territories along the Bosnian-Serbian border was ongoing.
Relevance of the Study After having outlined all of the films used as subject for analysis, I would like to again highlight the elements that will be focus of this research, before delving into a suitable theoretical framework for their investigation. The Two Nostalgias When Boym makes her distinction between two kinds of nostalgia, she stresses it is important to not consider either as absolute types, but rather as tendencies — different ways of giving shape and meaning to longing.
Restorative Nostalgia According to Boym, restorative nostalgia, in its essence, proposes to rebuild the lost home and patch up the memory gaps. Reflective Nostalgia On the other hand, when Boym talks about reflective nostalgia there is an immediate counterpoint to be found. Black Comedy - the Genre of Imagined Communities Before going into the relevant nuances that pertain to the genre of black comedy in this specific case, I should first outline the above mentioned connection between the concept of imagined communities — as introduced and theorized by Anderson — and how it corresponds with the idea of film genre.
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