Yugoslav War
“It’s really important that my colleagues, the filmmakers from all Yugoslav countries, turn their cameras toward themselves, so as to dissect and question what really constitutes our recent history.”
“It’s really important that my colleagues, the filmmakers from all Yugoslav countries, turn their cameras toward themselves, so as to dissect and question what really constitutes our recent history.”
1.
There’s a content to forgetting, just as there’s a content to remembering.
When writer and photographer Bill Carter showed up in Sarajevo in the midst of the Bosnian War, shattered by the recent death of his girlfriend Corrina and struggling to find meaning as far from home as he could get, he had two college degrees under his belt, $200 in cash in the toe of his right boot, and barely an idea of which of the fighting factions in the civil war he’d entered he believed in.
I met Dubravka Ugrešić in 1996 at an orientation session at the Bunting Institute at Radcliffe College, where we were asked to sit in a close circle and tell our life stories in front of perfect strangers.
Michael Winterbottom’s Welcome to Sarajevo, a partially fictionalized account of one English journalist’s struggle to save a Bosnian child, captures the moral dilemmas of war reporting.