The image of the absent narrators: personal migrant memories in Žilnik’s docu-experiments

Abstract

ABSTRACT The study is concerned with the possibility of reframing the visibility of migrants onscreen in Želimir Žilnik’s documentary films. It is claimed that Žilnik’s selected works such as the Kennedi trilogy open up a space for reversing the lens of the dominant hegemonies of viewing by enacting a productive instability in performing their actual lives on the one side but also provoking the spectators to reconstruct stories in the same way the protagonists do. In including the voice of the migrant, as well as (de)constructing his own presence, we can understand Žilnik’s films as formulating a political background in the very logic of the frame that disrupts self-colonising or balkanising perspective as it gives voice to those that were usually silent, silenced or implicated. The study proposes a possible space, both physical and epistemological for the articulation of the right to be seen in films that thematise those usually found on the outskirts of social visibility by proposing that complex narratives and images irreducible to the general idea of ‘the Balkans’ can be a transformative social and cultural gesture as it rearticulate power-positions of those marginalised of the level of counter-narrative, counter-archive, and the counter-image.