Crying of Laughter. Black Comedy as the Generic Language of Reflective Nostalgia in Srdjan Dragojević's Films

Table of Contents

Introduction

Problem Statement

The Films

Relevance of the Study

Theoretical Framework

Nostalgia for What?

The Two Nostalgias

Restorative Nostalgia

Reflective Nostalgia

Black Comedy - the Genre of Imagined Communities

Methodology

Structure of Analysis

Caricaturized Characters – Born of War

The Camera Speaks – Framing the Context

Mockumentary Miniatures – Spoofing News Broadcasts

The Songs Speak – Mirroring with the Music

Discussion

Final Remarks

Potential for Future Research

Research Objectives & Key Themes

This thesis examines black comedy as a generic tool used to express reflective nostalgia within Srdjan Dragojevic’s films, specifically analyzing how these films navigate the historical context of the dissolution of Yugoslavia and its aftermath. By applying Svetlana Boym’s framework of restorative versus reflective nostalgia, the study investigates how Dragojevic utilizes dark humor to deconstruct nationalistic myths and explore collective memory.

• The intersection of black comedy and reflective nostalgia in post-Yugoslav cinema.
• Textual analysis of four key films: Pretty Village, Pretty Flame, The Wounds, The Parade, and Holidays in the Sun.
• Filmic devices including character caricaturization, framing, mockumentary elements, and musical choices.
• The role of "imagined communities" in defining national identity through film.
• The evolution of nostalgic representations from confrontation to re-unification themes.

Excerpt from the Book

Summary of Chapters

Introduction: Outlines the research focus on Srdjan Dragojevic’s authorship and the thematic investigation of nostalgic attitudes in his films regarding the break-up of Yugoslavia.

Theoretical Framework: Defines the core concepts of Yugoslav nostalgia, Svetlana Boym’s distinction between restorative and reflective nostalgia, and Anderson’s theory of imagined communities.

Methodology: Establishes the analytical approach for the four films, categorizing elements into character caricaturization, visual framing, mockumentary devices, and musical usage.

Discussion: Synthesizes the analysis, linking the use of black comedy to the production of reflective nostalgia and identifying directions for potential future research in regional cinema.

Keywords

Yugoslavia, Srdjan Dragojevic, Black Comedy, Reflective Nostalgia, Restorative Nostalgia, Film Theory, Caricaturization, Imagined Communities, Collective Memory, National Identity, Balkan Cinema, War Aftermath, Media Representations, Symbolic Framing, Mockumentary.

Frequently Asked Questions

What is the core focus of this research?

The research explores how the genre of black comedy serves as a language for expressing reflective nostalgia in the films of Srdjan Dragojevic, focusing on the context of the Yugoslav break-up.

What are the primary themes analyzed in the study?

Central themes include the distinction between restorative and reflective nostalgia, the use of filmic devices to subvert nationalistic narratives, and the impact of the former country's dissolution on collective identity.

What is the ultimate goal of this thesis?

The goal is to demonstrate how Dragojevic uses darkly humorous tropes and caricaturization to move beyond rigid, restorative nostalgic scripts toward a more ironic, reflective understanding of the past.

Which methodology is employed in the analysis?

The author performs a textual analysis of four specific films, investigating recurring symbolic patterns, character types, and stylistic choices that facilitate reflective nostalgia.

What does the main body of the work cover?

The body analyzes the films through four specific lenses: caricaturized characters, the use of visual framing, the incorporation of mockumentary segments, and the symbolic application of music.

Which specific films by Dragojevic are analyzed?

The films analyzed are Pretty Village, Pretty Flame (1996), The Wounds (1998), The Parade (2011), and Holidays in the Sun (2014).

How does the author interpret the use of "Lino" cereal in The Parade?

The author views the prominent placement of this Croatian brand in the home of a Serbian nationalist as an intentional irony, highlighting the hypocrisy inherent in nationalist identity.

What is the significance of the "Last Supper" framing in Holidays in the Sun?

This framing is interpreted as an ironic commentary on how the religious differences that contributed to the initial break-up of Yugoslavia have been replaced by a new, unifying "religion" of capitalism.