Film Živi i mrtvi Kristijana Milića – poteškoće „zauzimanja strana“ u ratu u Bosni i Hercegovini (te u okolnim državama)

Nikica Gilić

Povzetek:

Zauzimanje strana u balkanskim sukobima često je složenije nego što se to može činiti na prvi pogled, pa se i nekoliko veoma zanimljivih filmova bavilo time. Ovaj se rad prvenstveno bavi igranim filmom Živi i mrtvi (2007) Kristijana Milića, hrvatsko-bosanskohercegovačkom koprodukcijom o “potisnutim povijestima” ratova u Bosni i Hercegovini: 2. svjetskog rata u 1940-ima i rata iz 1990-ih. Ukazujući na sličan način bavljenja etničkim sukobima i potisnutim povijestima ranijih “partizanskih filmova” Antuna Vrdoljaka (osobito Kad čuješ zvona iz 1969), rad obrazlaže strategije kojima Milićev film ukazuje na poteškoće u savlađivanju identiteta u Bosni i Hercegovini, kao i pripovjedne strategije kojima se gledatelja sprječava u olakog opredjeljivanja za ili protiv vojnih, etničkih i političkih pojava predstavljenih na platnu. Članak također govori o konceptima ključnim za raspravu o kulturnoj situaciji i umjetnosti vezanoj uz Bosnu i Hercegovinu.

Abstract:

Kristijan Milić's Feature Film Živi i mrtvi (The Living and the Dead, 2007) and the Difficulties of “Taking Sides” in the Conflicts in the Balkans

Taking sides in the conflicts in the Balkans is often more difficult than it seems at first glance, so several very interesting films have dealt with this problem. This article mainly deals with Kristijan Milić's feature film The Living and the Dead (Živi i mrtvi, 2007), a Croatian-Bosnian co-production depicting the “hushed histories” of the wars in Bosnia and Herzegovina: World War II in the 1940s and the war of the 1990s. Pointing to a similar concept of dealing with ethnic conflicts and “hushed histories” in the earlier “partisan films” directed by Antun Vrdoljak (particularly in When You Hear the Bells [Kad čuješ zvona, 1969]), the article explains the strategies in Kristijan Milić’s film that point out the difficulties in negotiating identities in Bosnia and Herzegovina, as well as the narrative strategies used to prevent the viewers from easily taking sides with military, ethnic or political phenomena represented on the screen. The article also examines the key concepts of discussing the cultural situation and art relating to Bosnia and Herzegovina.