The Image of the Other in Slovenian Post-Independence Cinema. Representations of Immigrants in Slovenian films after 1991.

V zaključni nalogi je obravnavana tematika reprezentacij priseljenskih skupin z drugih območij nekdanje skupne države Jugoslavije v slovenski poosamosvojitveni kinematografiji. V nalogi so na začetku predstavljeni procesi priseljevanja v Slovenijo s teh območij po drugi svetovni vojni in razlogi za priseljevanje. Predstavljen je status t. i. »novih manjšin« v Sloveniji in širši kontekst nepravičnih obravnav do njih, ki izvirajo iz časa oblikovanja slovenske nacionalne identitete v devetdesetih letih prejšnjega stoletja. V nadaljevanju je pozornost naloge preusmerjena na medije in pomen reprezentacij v njih ter utemeljevanju trditve, da imajo lahko reprezentacije v množičnih medijih vlogo reproduciranja diskriminacijskih praks znotraj posamezne družbe. Sledi kratek opis slovenske poosamosvojitvene kinematografije, nato pa analize reprezentacij »novih manjšin« v najbolj gledanih slovenskih celovečercih pred in po letu 2004. Ugotovljena je močna prisotnost teh manjšinskih skupnosti v slovenskem filmu, ki so v njih pogosto upodobljeni na stereotipen način, čeprav slovenski filmi obenem v veliki meri kritično pristopajo do priseljenske problematike, del slovenskih filmskih ustvarjalcev in igralcev pa ima osebno priseljensko izkušnjo.The final thesis discusses representations of immigrant groups from the former common country of Yugoslavia in Slovenian post-independence cinema. First, the processes of immigration from these areas to Slovenia after World War II are presented along with their causes. Then, the status of so-called “new minorities” in Slovenia is discussed, as well as the broader context of their unfair treatment that originates from the time when Slovenian national identity was formed in the 1990s. Afterwards, the thesis turns to media and the meaning of media representations, arguing that representations in mass media can play the role of reproducing discriminatory practices in society. In the next part, a short description of Slovenian post-independence cinema is given, followed by analyses of representations of “new minorities” in the most watched Slovenian feature films before and after 2004. The findings show that there is a strong presence of these minority groups in Slovenian cinema, where they are often depicted in a stereotypical manner, despite the fact that in many cases Slovenian films approach the topic of immigration critically, while certain Slovenian filmmakers and actors have personal experience of immigration