Abstract
Recently, there has been a significant rise in the production of films on the Jasenovac camp and related Ustasha crimes, taking their share in the mnemonic politics. The paper focuses on the two most recent films, The Diary of Diana B., a docufiction filmed in Croatia, and Dara of Jasenovac, a feature film which was Serbia’s candidate for an Oscar. The memory of traumatic events is remediated in each film differently and used for representing diverse group identities through temporal relation with the difficult past. Comparison between the two films focuses on subject positions and regimes of historicity as categories that make the production of meaning mechanism visible. The main questions that guide the analysis are: how are victims and perpetrators portrayed, who is witnessing traumatic events, and to whom is the trauma attributed? Do they bring something new to the cultural memory of the Holocaust and genocide in the Independent State of Croatia?
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
