Collective Rape and Postmemory in Bosnia pierre bayard Talking about postmemory in connection with the Bosnian War presents problems similar to those in talking about Rwanda. Th e events in question are relatively recent— the early nineties— and the generation following that of the direct victims is still relatively young. Consequent- ly, it is diffi cult to fi nd second- generation creators whose work has been marked by the trauma infl icted on the previous generation. Th e fi lm I will take as my example, Grbavica, made in 2005 by Bosnian fi lmmaker Jasmi- la Zbanic, is not the work of a second- generation artist since the direc- tor herself, who was born in Sarajevo in 1974, actually lived through the confl ict. Yet the fi lm has a twofold link to the issue of postmemory, fi rst through the story it tells and second through the impact of its reception in Bosnia. In this sense it can be considered both an account and also a vehi- cle for postmemory. Th e story is set in Sarajevo approximately fi ft een years aft er the end of the war. Th e main character, Esma, a woman in her
Journal of Literature and Trauma Studies – University of Nebraska Press
Published: Jun 16, 2016
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