APA 6th Edition Lučić, K. (2016). The Representation of Minorities in Contemporary Croatian Film. Umjetnost riječi, 60 (3-4), 231-260. Preuzeto s https://hrcak.srce.hr/184381
MLA 8th Edition Lučić, Krunoslav. "The Representation of Minorities in Contemporary Croatian Film." Umjetnost riječi, vol. 60, br. 3-4, 2016, str. 231-260. https://hrcak.srce.hr/184381. Citirano 13.07.2020.
Chicago 17th Edition Lučić, Krunoslav. "The Representation of Minorities in Contemporary Croatian Film." Umjetnost riječi 60, br. 3-4 (2016): 231-260. https://hrcak.srce.hr/184381
Harvard Lučić, K. (2016). 'The Representation of Minorities in Contemporary Croatian Film', Umjetnost riječi, 60(3-4), str. 231-260. Preuzeto s: https://hrcak.srce.hr/184381 (Datum pristupa: 13.07.2020.)
Vancouver Lučić K. The Representation of Minorities in Contemporary Croatian Film. Umjetnost riječi [Internet]. 2016 [pristupljeno 13.07.2020.];60(3-4):231-260. Dostupno na: https://hrcak.srce.hr/184381
IEEE K. Lučić, "The Representation of Minorities in Contemporary Croatian Film", Umjetnost riječi, vol.60, br. 3-4, str. 231-260, 2016. [Online]. Dostupno na: https://hrcak.srce.hr/184381. [Citirano: 13.07.2020.]
Sažetak This paper focuses on the cultural stereotypes and various ethnic and
sexual minorities in Croatian narrative film since 1990. Because 1990
marks a crucial break in the history of the Croatian cultural identity and the ethnicities of former Yugoslavia, the representation of minorities in the context of war and the postwar setting is an important indicator of transformation in the new society, and a gauge for observing its confrontation with a conflicted national heritage. The principal thesis establishes that the new society attempts to articulate its own identity
through filmic representation, by negotiating diverse minority identities,
which it ultimately conceives as a threat and a non-essential component, unable to be incorporated in the new social order. However, through exploring themes that were silenced prior to 2000, contemporary films give minorities a new voice and a strong visual path to recognition, which goes far beyond the previous stereotyped portrayals. In the period since 1990, a range of Croatian films has dealt with primarily ethnic/national minorities. Two trends are visible in this regard: an ethnic minority (particularly Serbian) that struggles for recognition in the context of war (e.g. in Vinko Brešan’s 2003 film Witnesses) or other ethnic minorities in the postwar context (e.g. an Asian child in Ognjen Sviličić’s 2004 film Sorry for Kung Fu). These two aspects often entwine, like in the film Fine Dead Girls (2002) by Dalibor Matanić, where a lesbian couple fights for recognition in a postwar Zagreb saturated with intolerance and war trauma.