ABSTRACT
This chapter follows the transformation of the semantic structure introduced by Stín ve světle in the pragmatic contexts of the Muslim periphery in Yugoslavia. We investigate the process of “acquiring syntax” in Altman's terms, in the Croatian films Ikina sudbina (Ika's destiny, 1933) and Dobro za zlo (Good for evil, 1935), targeted at the mission to prevent infectious diseases in Bosnia and Herzegovina. We devote special attention to the role of socialist ideas, as shared by Andrija Štampar and Kamilo Brössler, in transforming the frames introduced by Stín ve světle. The major differences between Stín ve světle and the Croatian films are explained by the clear difference in the visions of the periphery among Czech and Croatian ideologies of public health, as well as their different positions regarding national governments and supranational organizations. We reconstruct the echo of these films in some post-1945 attempts to use this genre for preventing intra-country migration.
