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Post-Socialism Remembers the Revolution: The Comedy of It / Tatjana Jukić.

By: Jukić, Tatjana.
Material type: ArticleArticlePublisher: 2016Description: 149-168 str.Other title: Post-Socialism Remembers the Revolution: The Comedy of It [Naslov na engleskom:].Subject(s): 6.03 | socialism, postsocialism, film, psychoanalysis, revolution eng In: Post-Yugoslav Constellations. Archive, Memory, and Trauma in Contemporary Bosnian, Croatian, and Serbian Literature and Culture str. 149-168edited by Vlad Beronja, Stijn Vervaet.Summary: Starting with the claim that socialism in Yugoslavia, unlike most central European socialisms, had been constituted in the revolution rather than installed bureaucratically, Jukić points out that socialism in Yugoslavia evolved with and into a raison d'État that could not sustain the libidinal configurations formative to revolutionary communities. As a result, revolution kept depleting the symbolic resources of socialism and deregulating its symbolic economy ; also, it is to the extent to which the revolution deregulated the symbolic economy of socialism that it keeps regulating the postsocialist imaginary. From this position, Jukić moves on to analyze Hrvoje Hribar's "What Is a Man Without a Moustache?" (2005), a film paradigmatic of recent Croatian cinema. She shows how the film engages and deconstructs both the ethnography of Croatian postsocialism and the political history of Yugoslavia, in order to yield an insight into an operable memory of the revolution and its assemblages based in melancholia, masochism, and anti-Oedipal brotherhood. Finally, Jukić shows how the structures specific to American cinema, especially to classical Hollywood, participate in the memory regimes thus generated in and for (post)socialist cultures, focusing on the significance of the cinematic poetics of John Ford in this context.
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Starting with the claim that socialism in Yugoslavia, unlike most central European socialisms, had been constituted in the revolution rather than installed bureaucratically, Jukić points out that socialism in Yugoslavia evolved with and into a raison d'État that could not sustain the libidinal configurations formative to revolutionary communities. As a result, revolution kept depleting the symbolic resources of socialism and deregulating its symbolic economy ; also, it is to the extent to which the revolution deregulated the symbolic economy of socialism that it keeps regulating the postsocialist imaginary. From this position, Jukić moves on to analyze Hrvoje Hribar's "What Is a Man Without a Moustache?" (2005), a film paradigmatic of recent Croatian cinema. She shows how the film engages and deconstructs both the ethnography of Croatian postsocialism and the political history of Yugoslavia, in order to yield an insight into an operable memory of the revolution and its assemblages based in melancholia, masochism, and anti-Oedipal brotherhood. Finally, Jukić shows how the structures specific to American cinema, especially to classical Hollywood, participate in the memory regimes thus generated in and for (post)socialist cultures, focusing on the significance of the cinematic poetics of John Ford in this context.

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