A STUDY OF REMEMBRANCE IN POST-YUGOSLAV CINEMA THROUGH AIDA BEGIC'S SNOW

Abstract

After the upheaval of Yugoslavia, women's cinema steadily emerged as a potent mode of artistic expression, capable of transcending the Balkan region’s borders by evoking a strong sense of remembrance of past traumas, and nostalgia for a bygone era. This review examines cinematographic distinctions in Aida Begić’s Snow (Snijeg). Begić is one of the few directors who portray post-war gendered narratives of trauma in the Balkans. By exploring Begić’s methods of depicting women’s memories and ways of coping with the present while leading lives in complete isolation and exclusion from society, this review aims to shed light on the portrayal of women characters in contemporary Bosnian cinematography. The review’s main focus is Begić’s approach to show women’s central on-screen presence, followed by a brief analysis of Igor Čamo’s musical contribution. It aims to emphasize the contrast between Snow and other films from the post-Yugoslav era where remembrance is depicted by the reconstruction of war scenes without focusing on women as central movie protagonists.

Keywords

• post-Yugoslav cinema
• remembrance
• communal living
• gendered trauma