Cultural Memory in Representations of Central Europe: The Case of Slovak Cinema after 1989
Abstract
This paper concentrates on some distinctive modes of negotiation of Slovak identity as an identity lost between various notions of the centre and the margin. Inspired by texts of A. Kiossev, H. K. Bhabha and M. Augé, it proposes an account of contemporary Slovak cinema as the cinema of the lack (of national identity). This lack is both metaphorically masked and metonymically recalled or made present by various treatments of communal memory and by various references to the geopolitical location of the country.References
[1] M. Augé, Non-lieux. Introduction à un anthopologie de la surmodernité. Paris: Seuil, 1992.
[2] H. K. Bhabha, „The Other Question. Stereotype, discrimination and the discourse of colonialism,“ in The Location of Culture. London – New York: Routledge, 1994.
[3] P. Branko, Straty a nálezy 2. Bratislava: Slovenský filmový ústav – FOTOFO – FTF VŠMU, 2005.
[4] N. Daković, “Kreolizacija srpske kinematografije : Srpski film i EU integracije,†in N. Daković and M. Nikolić, Eds., Obrazovanje, umetnost i mediji u procesu evropskih integracija. Beograd : Fakultet dramskih umetnosti, 2008, pp. 35-46.
[5] J. Dudková, Slovenský film v ére transkulturality. Bratislava: Drewo a srd. – VŠMU, 2011.
[6] M. Foucault, "Des Espace Autres," in Architecture, Mouvement, Continuité, vol. 5, 1984. Available in English online: http://www.foucault.info/documents/heterotopia/foucault.heterotopia.en.html.
[7] Z. Gindl-Tatárová, „The Garden,“ in P. Hames, Ed., The Cinema of Central Europe. London – New York: Wallflower Press, 2004, pp. 245-253.
A. Kiossev, „Notes on Self-Colonizing Cultures,“ in B. Pejić, D. Elliot, Eds., After the Wall. Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999, pp. 114-177.
[8] G. Lipovetsky, J. Serroy, La culture-monde. Réponse à une société désorientée. Paris: 2008.
[9] J. MalÃÄek, „Pop po domacky,“ in Slovo, vol. 7, no. 9, pp. 16, 2005.
[10] V. Macek, „1 297 254 000 Sk,“ in Kino-Ikon, Vol. 14, no. 1, pp. 124-154, 2010.
[11] R. Rorty, Contingency, Irony, and Solidarity. Cambridge: Cambridge UP, 1989.
[12] M. Todorova, Imagining the Balkans. New York: Oxford University Press, 1997.
[13] M. Šmatlák, „Cool XXL,“ Domino forum, vol. 12, no. 42, pp. 26, 2003.
[14] M. Šmatlák, „Hľadanie vlastnej cesty,“ in: Kino-Ikon, vol. 12, no. 1, pp. 135-147, 2998.
[15] S. Žižek, Metastaze uživanja. Beograd: Biblioteka XX vek, 1996.
[16] V. Zuska, „Topos zahrady v ZahradÄ› a jeho Äasoznakové implikace,“ in M. Brázda, Ed., Svet v pohyblivých obrazoch Martina Å ulÃka. Bratislava: Slovensky filmovy ustav, 2000, pp. 122-147.
[17] W. Welsch, „Transculturality – the Puzzling Form of Cultures Today,“ in M. Featherstone and S. Lash, Eds., Spaces of Culture: City, Nation, World. London : Sage, 1999, pp. 194-213.
[18] L. Wolff, Inventing Eastern Europe. The Map of Civilization on the Mind of the Enlightenment. Stanford: Stanford University Press, 1994.
[2] H. K. Bhabha, „The Other Question. Stereotype, discrimination and the discourse of colonialism,“ in The Location of Culture. London – New York: Routledge, 1994.
[3] P. Branko, Straty a nálezy 2. Bratislava: Slovenský filmový ústav – FOTOFO – FTF VŠMU, 2005.
[4] N. Daković, “Kreolizacija srpske kinematografije : Srpski film i EU integracije,†in N. Daković and M. Nikolić, Eds., Obrazovanje, umetnost i mediji u procesu evropskih integracija. Beograd : Fakultet dramskih umetnosti, 2008, pp. 35-46.
[5] J. Dudková, Slovenský film v ére transkulturality. Bratislava: Drewo a srd. – VŠMU, 2011.
[6] M. Foucault, "Des Espace Autres," in Architecture, Mouvement, Continuité, vol. 5, 1984. Available in English online: http://www.foucault.info/documents/heterotopia/foucault.heterotopia.en.html.
[7] Z. Gindl-Tatárová, „The Garden,“ in P. Hames, Ed., The Cinema of Central Europe. London – New York: Wallflower Press, 2004, pp. 245-253.
A. Kiossev, „Notes on Self-Colonizing Cultures,“ in B. Pejić, D. Elliot, Eds., After the Wall. Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999, pp. 114-177.
[8] G. Lipovetsky, J. Serroy, La culture-monde. Réponse à une société désorientée. Paris: 2008.
[9] J. MalÃÄek, „Pop po domacky,“ in Slovo, vol. 7, no. 9, pp. 16, 2005.
[10] V. Macek, „1 297 254 000 Sk,“ in Kino-Ikon, Vol. 14, no. 1, pp. 124-154, 2010.
[11] R. Rorty, Contingency, Irony, and Solidarity. Cambridge: Cambridge UP, 1989.
[12] M. Todorova, Imagining the Balkans. New York: Oxford University Press, 1997.
[13] M. Šmatlák, „Cool XXL,“ Domino forum, vol. 12, no. 42, pp. 26, 2003.
[14] M. Šmatlák, „Hľadanie vlastnej cesty,“ in: Kino-Ikon, vol. 12, no. 1, pp. 135-147, 2998.
[15] S. Žižek, Metastaze uživanja. Beograd: Biblioteka XX vek, 1996.
[16] V. Zuska, „Topos zahrady v ZahradÄ› a jeho Äasoznakové implikace,“ in M. Brázda, Ed., Svet v pohyblivých obrazoch Martina Å ulÃka. Bratislava: Slovensky filmovy ustav, 2000, pp. 122-147.
[17] W. Welsch, „Transculturality – the Puzzling Form of Cultures Today,“ in M. Featherstone and S. Lash, Eds., Spaces of Culture: City, Nation, World. London : Sage, 1999, pp. 194-213.
[18] L. Wolff, Inventing Eastern Europe. The Map of Civilization on the Mind of the Enlightenment. Stanford: Stanford University Press, 1994.
How to Cite
DUDKOVá, Jana.
Cultural Memory in Representations of Central Europe: The Case of Slovak Cinema after 1989.
Култура/Culture, [S.l.], n. 4, p. 75-86, nov. 2014.
ISSN 1857-7725.
Available at: <https://journals.cultcenter.net/index.php/culture/article/view/78>. Date accessed: 23 mar. 2026.
Section
English Articles
Keywords
Central Europe, Slovak Cinema, representation, marginality, self-colonisation
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