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oth bloggers and visitors. Furthermore, such mediation of memories and circulation of 4MO functions as a tool and process of constant re-articulation of the past. Yet it is also a most ordinary everyday activity of individuals engaging with wider socio-cultural constellations which significantly rest on re-actualisations of the past. It has to be emphasised here that the former Yugoslav popular music is not at all de-presented from post-Yugoslav realities. On the contrary, over the years much music has nevertheless been reissued and the interest in gig-attendance of former Yugoslav musicians is definitely increasing. However, this does not mean that the sort of consumptory engagement with the former Yugoslav popular music implies actual interest in the country‘s past any more than eating out in a ‗foreign‘ restaurant presupposes admiration of ‗foreign‘ culture. When, however, it comes to the bloggers and their ways discussed above, it becomes clear that their conduct does not fit into the consumptory, cursory engagement with music. What their work demonstrates is great appreciation of the music they seek and post. Moreover, it is also clear from their posts and their storytelling that their motives in using the music are distinctly different. They in fact use the music to narrate their personal stories and they do so also actively engage with the history of Yugoslavia and the history of Yugoslav popular music. What is characteristic for these cases is active re-establishing of a link to the past, indeed a vernacular treatment of Yugoslav popular music as a relevant historical resource that even today may have something to say, about the past and present alike. Unless digitised, made available in DME and subdued to participative co-creation, the music featured in the music blogs faces a twofold extinction—from history and the media everyday. Through preserving music in this way the aspects of the past that are re-presenced in and through the music, in and through the technologically enabled media communications channel, face a better chance of survival in the commoditised world. The extinction, full-on commodification or top-down institutionalisation for that matter would even further exacerbate the consequences that the collapse of the state had for the preservation of Yugoslav history, eliminating the experiential, engaged, affective, caring attitudes to the musical rarities of the past. 100
Chapter 3 | YouTube and Digital Memorials: Broadcast your past Now, as I recollect my memories and try to invent a past for myself, I find this a portrait of happiness fit for the fables I heard as a child, exactly as the painters of the pictures in those fairy-tale books would have it. 212 Introduction In this Chapter I discuss the potentialities of YouTube as a social networking platform that mobilises/facilitates/engenders the creation and co-creation of digital memorials, i.e. vernacular historical narratives, by giving space for publication and co-creation of 4MO. The cases of externalisations of memory analysed here are understood as typical cases of digital storytelling and the most straightforward examples of vernacular digital memorials (further discussed below). The central object of analysis are YouTube digital memorials with a mission to renarrate and/or remediate some of the foremost Yugoslav founding myths, particularly those related to the WWII and the anti-fascist resistance. The topic of WWII and anti-fascism in Yugoslavia was an important tenet of everyday life and popular culture, and such ‗mixing‘ continues to be widely present also in ‗YouTube digital memorials.‘ What is more, as the WWII and anti-fascism played an important part in the everyday, 213 the analysis also takes into consideration the wider Yugoslav popular cultural aspects (particularly music). With this in mind I look into the lives of such ‗historical‘ (re)interpretations to interrogate the potentiality of such videos to open up space for articulating narratives which counter the prevailing national(ist) ones; I approach the issue through content and discourse analysis. The investigation focuses on video-making strategies employed and the variegated responses that streaming videos evoke. Moreover, analysing the politics of memory in several vernacular- 212 Orhan Pamuk, The White Castle, translated from the Turkish by Victoria Holbrook, New York, Vintage Books, 1998, 41. 213 Cf. Catherine Baker, ―‗Death to Fascism isn‘t in the Catechism‘: Legacies of Socialism in Croatian Popular Music after the Fall of Yugoslavia,‖ Narodna umjetnost: hrvatski časopis za etnologiju i folkloristiku, 47, 1, 2010; also available at http://hrcak.srce.hr/file/81655. 101
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UNIVERSITY OF NOVA GORICA GRADUATE
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Some cases in vernacular digital me
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others in the remains of Yugoslavia
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Chapter 1 | Introduction: Cyberplac
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storytelling, memories and memorial
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conceptual framework supporting thi
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Media and Memory The most ubiquitou
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Archiving, Techno-topia and Pervasi
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as an archive, 29 the randomness of
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technologies (typewriters, calculat
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digital age. 41 Yet, considering th
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which she can, at the click of the
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However, in the case of Yugoslav di
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narrativisations, sampling, remixin
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cultural frameworks.‖ 67 Moreover
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from ‗pre-media‘ (before the in
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framework accounts for numerous eme
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outside the process of representati
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understanding of (the production an
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they are able through digital conne
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Setting Sail Reappropriations and r
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After the internet and digital comm
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that was made during the era of soc
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create and communicate, via digital
Page 49 and 50: time.‖ 127 Drawing on this concep
Page 51 and 52: the different musics‘ ―common f
Page 53 and 54: Blogging and Memory The practice of
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Page 57 and 58: and enthusiasts alike. Thus, for in
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Page 67 and 68: spectacle for which that audience h
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Page 81 and 82: posts he uses a first-person, very
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Page 87 and 88: music. Such blog-enabled preservati
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Page 105 and 106: In the category of vernacular or us
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Page 115 and 116: inflame a reaction formation: the
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Page 133 and 134: 4) In Zemun [part of Belgrade]. How
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Page 137 and 138: Jugoslavijo A much more elaborate v
Page 139 and 140: Figure 27 | Photograph of a delegat
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Page 143 and 144: Damned be Josip Broz ―Tito‖ all
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Page 149 and 150: Kroz čempres vjetar duva [Through
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Figure 30 | The closing scene. What
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This is a time when men were gentle
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The string of post‘n‘replies re
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Croats had the greatest fascists an
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among the people [...] commie, do y
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(potential) action are being built.
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the contrary, they are often overly
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Chapter 4 | The Past on Facebook: P
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to make of the interweaving of poli
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Facebook: Digital Sociability and M
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keeping in touch; or, in the case o
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author traces in both the ―import
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Nevertheless, many of these profile
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ways, these domains and the differe
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allegiance. But, at the same time w
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view they call for forming a front
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The comments here, as cursory as th
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egimes. 362 A recent post links to
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oil down to pros and cons of Yugosl
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Enver Dizdarevic Is the idea to cre
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ut how can you explain to the peopl
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intertwining of, on the one hand, t
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Zlatko Crnogorac unfortunately I se
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Party: Komunista Partija Jugoslavij
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The user Šime Zelić stands firmly
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lives came to power. we promulgate
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comments and 245 people ‗liked‘
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Ever since April 2010, the profile
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It remains to be seen what will bec
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while the country‘s ‗birthday
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Figure 36 | Nova Jugoslavija, websi
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dismissed as a-political. And even
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Chapter 5 | Conclusion: ... Archivi
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much) political agenda. Nevertheles
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(cultural reference). Today, in a t
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ather than digging for material tra
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altogether, but aim to suggest that
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social bonds among 22 million peopl
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Jugoslavija Facebook profile case d
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Povzetek Zdi se, da sta splošno ra
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Priĉujoĉo raziskavo sestavljajo t
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splošno prav v tem, da ga prebere
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odkrivajo, jo privedejo na površje
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avdiovizualnih izvedb preteklosti.
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Lahko bi se reklo, da je bila praks
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skozi avdiovizualne in besedilne ko
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»Zgodovina« uporabniške dejavnos
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katere bi se lahko gradila ta zaţe
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to malo verjetno. Kljub temu pa to
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Baker, Catherine. ―Where to Read
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―Constitution of CY (English).‖
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Hahn, Chris M. Postsocialism, Ideal
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Josip Broz Tito. ―Info.‖ http:/
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mejerchold. ―Tatu - Jugoslavija.
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Pogaĉar, Martin. ―Nostalgia in C
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Sobel, Jon. ―HOW: Technology, Tra
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―RAZNI IZVODJACI Hitovi Omera Pob
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