Titlebook: Dislocated Screen Memory; Narrating Trauma in Dijana Jela?a Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Post-Yugoslav c

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Post-Yugoslav Heritage Cinema and the Futurity of Nostalgia,ory is partial: things get forgotten, misremembered, repressed” (1995: 184). Memory is constructed through cinema in multifold ways. Sometimes it is an indirect effect of giving the spectator “prosthetic memory” (Landsberg 2004), whereby one acquires, through cinema, inauthentic memories of events t

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Conclusion: The Child, the Quiet War Film, and the Power of Alternative Scenarios,e, “memory is everything” (1995: 178), then these two seemingly paradoxical truths are perpetually negotiated in the process of arriving at meaning—often through incongruities more than seamless logic. In his analysis of terror and trauma in German cinema post-1945, Thomas Elsaesser finds that the f

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