Kriegsverbrechen und Tribunale in Literatur, Film und Medien
Edited By Insa Braun, Ivana Drmic, Yannic Federer and Fabienne Gilbertz
Merita Zeković. Haunted by the Past:The Representation of Victims and Perpetrators in the film “Snow” and the theatre play “Crying Game”
Merita Zeković Haunted by the Past: The Representation of Victims and Perpetrators in the film “Snow” and the theatre play “Crying Game” “The snow does not fall to cover the hill, but for every beast to leave its trail”.1 Aida Begić, Elma Tatarić In this paper, I am analysing the methods used to portray the victims and the perpetrators in post-war Bosnia in the film “Snow”2 and the theatre play “The Crying Game”.3 Contrary to the political discourse which mainly concentrates on the public sphere, those two artworks focus on the private, intimate sphere in order to explore the complex relationship between the two sides involved in the conflict. On the one side, the victims live in a limbo, burdened by the war trau- mas and a sense of loss. They cannot satisfy the need for closure, like the widows in the film “Snow”. On the other side, those who have committed war crimes live in a state of constant fear and paranoia; despite of their efforts to e- rase the past and acquire new identities, they desperately search for some form of liberation, like the main character He, in “The Crying Game”. I refer to the writing of Stephen L. Esquith, a Professor of Philosophy and Dean of the Resi- dential College in the Arts and Humanities at Michigan State University, whose areas of expertise are mass violence, democratic political education, and politi- cal ethics. In his writing, Esquith emphasises the role of what he calls...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.