ABSTRACT
Chapter IV revolves around the aftereffects of the Yugoslav disintegration wars, as depicted in films by filmmakers who work(ed) and live(d) in the diaspora. One of the hypotheses, a spatio-temporal distance from places of (post)war trauma, leads to an experimentation in style and contributes to the stronger presence of films of non-representation. A combination of archival footage with home movies in mosaic-screen compositions and slow-motion montage shows that non-representational images of war can offer points of entry for the productive exchange of mediated memories of the Partisan struggle and the Bosnian war. They can draw attention to the failure to reconcile emotional confession with collective responsibility as they seek to account for the historical experience of the post-war condition.
