Naslov
Shifting Borders. The Case of Zadar

Autori
Lovrenčić, Lana

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, znanstveni

Skup
Cities and regions in flux after border change: Reconfiguring the frontier, reshaping memory and visualizing change in twentieth century Europe

Mjesto i datum
Rijeka, Hrvatska, 10.07.2019. - 12.07.2019

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Nije recenziran

Ključne riječi
Photography ; WWII city bombings ; Heritage ; Propaganda ; Memory ; Identity

Sažetak
The awareness about the importance of photography and its documentary and propaganda potential increased in the period during and after WWII. Photographs of historical towns and monuments in their pre-war condition, as well as photographs of their post-war condition, became one of the foothills of post-war renewal projects, not only from the physical, but also from the psychological point of view. In that sense it is safe to claim that photographs of cultural heritage, aimed at contemporaries, were used to “reflect, constitute and confirm the sense of place and reinforce collective memory through images of space deemed emblematic of the nation” (Schwartz, 2015). But what was the role of photographs in the case of city that was not part of the collective memory and that lost almost all of its inhabitants two times in the period of 25 years? In the post-war Yugoslavia, the city of Zadar poses an extreme, an example with no parallel in terms of its pre-war history (annexed to Italy in 1920 and completely separated from its inland), war damage (one of the most destroyed cities due to WWII bombings, parallel to Dresden) and post-war renewal. After its liberation in 1944, the city was almost empty with less than 200 remaining inhabitants, 80 % of its buildings destroyed or damaged. After its incorporation in the new Yugoslav state, the city’s condition didn’t improve – it was perceived as Italian and left to itself with no efficient city government or federal assistance. The idea of building a new socialist town on the ruins of the old and unwanted one was in motion when Miroslav Krleža came to the city in 1948. This paper wants to examine in what way was the idea of Zadar as a Slavic city, connected to its surroundings, introduced in the public sphere through Krleža's advocacy and how did accompanying photographic campaigns of destroyed city and its monuments contribute to the reinforcement of the idea of the city’s Slavic identity that propelled its reconstruction.

Izvorni jezik
Engleski

Znanstvena područja
Povijest, Povijest umjetnosti, Interdisciplinarne humanističke znanosti

POVEZANOST RADA