Collective Rape and Postmemory in Bosnia

Collective Rape and Postmemory in Bosnia 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 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Literature and Trauma Studies University of Nebraska Press

Collective Rape and Postmemory in Bosnia

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Publisher
University of Nebraska Press
Copyright
Copyright © 2012 University of Nebraska Press
ISSN
2045-4740

Abstract

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

Journal of Literature and Trauma StudiesUniversity of Nebraska Press

Published: Jun 16, 2016

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