ABSTRACT
The multi-faceted meaning of the adjectives “post-Yugoslav” and “post-war” are reflected in Chapter I. The notion of a “post-war” society assumes an inability to separate trauma and the legacy of the war from the present. “Post-Yugoslavia” implies the retrieval of once lost memories of living in the former federal state. The distinction between the “postwar” and the “post-Yugoslav” condition justifies the imperative to move beyond the “post-war” condition. In the context of filmmaking, overcoming “post-war” status assumes finding aesthetic means to convey memories of the war while avoiding the traps of representation. Chapter I introduces the notion of non-representational images of war. The conditions of their emergence are contextualized, and a model of implied spectatorship is introduced.
