Naslov
One Day in the Life of a Post-Dayton Hamlet: The Accessibility of Paranoia in Bobo Jelčić’s A Stranger

Autori
Vidić, Adrijana

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

Skup
Theorizing Myth, Trauma and Memory in Central and East European Cultural Spaces

Mjesto i datum
Lovran, Hrvatska, 25.-27.09.2015

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Podatak o recenziji nije dostupan

Ključne riječi
Bobo Jelčić, A Stranger, paranoia

Sažetak
The movie synopsis for A Stranger (Obrana i zaštita, 2013) on the Croatian Audiovisual Center website reads as follows: ''When Slavko’s old friend Đulaga dies, Slavko feels obliged to go to the funeral. But in his hometown of Mostar, in Bosnia and Herzegovina, this simple social obligation could get him into all kinds of trouble with his neighbours or even with local political bigwigs. This is a compelling tale of everyday life in a fractured society, and a world where paranoia, comedy and drama co-exist. It is also an astute psychological portrait of a man who is forced to cross the invisible line that divides two communities. Above all, it is the story of a man who lost everything that defined him when his country disintegrated.'' The title Obrana i zaštita (defence and protection) largely supports the aforementioned paranoia. Once a high school course, it was expelled from the education system at the onset of what identifies Slavko with the movie's international title. He becomes a stranger in his hometown, in his own family, and in his own life. Frequently repeated in ''Obrana i zaštita'' coursebooks was Josip Broz Tito's warning about the necessity of acting as if hundreds of years of peace lie ahead but war may break out tomorrow. This somewhat paranoid instruction seems to govern Slavko's life even after the war broke out ''yesterday''. Much like his country, he is both a post- Dayton madman and an average sane person whose choices to be and not to be seem to overlap. This unsolved duality is interrelated with the cinematic representation of paranoia which will be introduced by this paper. The central points of the analysis will involve manifestations of paranoia, whether benign, comic or seemingly reasonable, and the discrepancy between what the other characters and what the viewer get to see. Special attention will be paid to the role of euphemistic visual representation of Mostar which subsequently contributes to the general sense of disorientation.

Izvorni jezik
Engleski

Znanstvena područja
Filologija

POVEZANOST RADA