Dealing with the war past in Croatian movie since 1990-ies: between repression, acting-out and working through

Rad nastoji istražiti položaj hrvatskog filma od ranih devedesetih do danas u odnosu na suočavanje s ratnom prošlošću. Kroz teoriju kulturne traume Jeffreya C. Alexandera te kroz postavke koje daju Dominick La Capra i Nebojša Blanuša te drugi autori u tom području, propitkuje se koliko je daleko hrvatski film došao u suočavanju s Domovinskim ratom. Teza rada, postojanje političko- psihološkog refleksivnog potencijala hrvatskog ratnog i poratnog filma, istražena je komparativnom analizom devet hrvatskih filmova. Pokazalo se da je dugotrajna okupiranost hrvatskog filma ratnom tematikom odraz nerješenih pitanja i dugog razdoblja u kojem je suočavanje s traumom izostajalo na platnu a film nalazio u teškoj fazi odjelovljenja. Ipak, analiza pokazuje da su određeni filmovi već devedesetih godina počeli prorađivati bitna pitanja nastala tijekom rata što se nastavilo u dvijetisućetima. U zaključku se otvara pitanje daljnjeg prorađivanja odgovornosti i suočavanja sa ulogom počinitelja s čim se hrvatski film u zadnjih nekoliko godina počeo baviti i za što još uvijek ima prostora.This paper is trying to investigate the position that the Croatian film takes towards confronting the war past. Through the theory of Cultural Trauma by Jeffrey C. Alexander and the distinctions given by Dominick La Capra and Nebojša Blanuša as well as other authors in that area it questions how far did the Croatian film go in dealing with the Homeland war. The thesis, the existence of a political and psychological potential of the Croatian war and post-war film, has been researched by a comparative analysis of nine Croatian films. It has been shown that the long term preoccupation of Croatian film with war themes has been a reflection of unsettled questions and a long period of lack of confronting when the film was in a rough phase of acting-out. Still, the analysis shows that certain films were already in the 90's starting to work trough some important questions and that continued in the 2000's. In the conclusion the question of further working trough of responsability and confronting the role of self as a perpetrator arises, this question has been a new topic in the Croatian film and gives space for further investigation