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Refracted Visions: “Ethnic Cleansing” and the De-mythologization of Gender

  • Krista Geneviève Lynes
Part of the Global Cinema book series (GLOBALCINE)

Abstract

In 2009, the artist Milica Tomić walked through the streets of Belgrade, casually carrying an AK-47 assault rifle and a plastic shopping bag, passing through the sites where the People’s Liberation Movement carried out successful resistance operations against Nazi occupation during World War II. The action/intervention was accompanied by a video work, which used the film-making technique of Russian avant-garde filmmaker Lev Kuleshov to construct a “creative geography” where various locations, places and times all appeared to occur in the same site over a continuous period. Tomić argues that the use of “creative geography” actually imprisoned her character in the editing loop of the video, “unable to find a way out, for this newly-created/old territory. This territory, even though it is made up of emancipatory politics, decisions and actions, is imprisoned and occupied by a new time, the era of permanent war.”1 Through her action and media work, Tomić sought to resist the forms of collective forgetting in Belgrade, not only regarding the recent violence in the Balkans, but also in the global context of increased militarization around the world. Dedicated to the “Belgrade 6,” the performance created a doubled vision, tying the current climate of militarism and “security” to the resistance to fascism in World War II. The “Belgrade 6” were activists accused of inciting, assisting in and executing an attack on the Greek Embassy in Belgrade in 2009, in solidarity with the hunger strike of the political prisoner Thodoros Iliopoulos. Members of the Serbian Anarco-Syndicalist Initiative (ASI), they were arrested and held in custody for six months, charged with “international terrorism” (Figure 1.1).

Keywords

Ethnic Identity Black Kite Ethnic Nationalism Mass Rape Serbian Woman 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 7.
    Nira Yuval-Davis and Floya Anthias, Women-Nation-State (London: Macmillan, 1989), 7.CrossRefGoogle Scholar
  2. 14.
    Catherine MacKinnon, “Turning Rape into Pornography: Postmodern Genocide.” Ms. Magazine (1993): 24–30.Google Scholar
  3. 16.
    Roland Barthes, “Myth Today,” in Mythologies (New York: Hill& Wang, 1972), 111.Google Scholar
  4. 21.
    Roy Gutman, A Witness to Genocide (New York: Macmillan Publishing Company, 1993), x.Google Scholar
  5. 43.
    Zoe Kosmidou, “Transitory Objects: A Conversation with Marina Abramović,” Sculpture 20, no. 9 (2001): 31.Google Scholar
  6. 66.
    Giorgio Agamben, Remnants of Auschwitz: The Witness and the Archive (New York: Zone Books, 2002), 20.Google Scholar

Copyright information

© Krista Geneviève Lynes 2012

Authors and Affiliations

  • Krista Geneviève Lynes

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