UNIVERSITY OF NOVA GORICA GRADUATE SCHOOL ...

addresses a wider public and aims to invoke in it similar feelings. Particularly, in my opinion,
addressing the people who were forced to flee, either emigrate (spatio-temporal migration) or just
leave the Yugoslav past behind to live in the new countries (temporal migration). This enables us
to extend the idea of geographical migration to migration in time, which is a central issue in any
dealing with nostalgia.
The analysis of the visual aspect shows that the images are ordered randomly, defying and indeed
negating the linearity of time (images of Tito from the post-war period are followed by the ones
from the WWII). This disregard of linear representation/perception of time/history is particularly
characteristic for the digital: e.g. in the DME disregard of the print-imposed reading style, the user
can have several windows opened with temporally and/or spatially dispersed content. This,
however, is also characteristic for everyday life conduct and unofficial discourses in general, i.e.
for narratives not as strictly confined to the prescript of canonicity and official discourse, which in
turn brings social action in DME closer again to the realm of orality. 282
At the same time, this is also apparent in nostalgic ‗filing‘ the representations of the past according
to ‗feeling,‘ personal preferences... In this case we can see the post-WWII Yugoslav period
uprooted from the linearity of time, the historical context. Moreover, in this video it is meant to
exist in its own symbolic universe and to reproduce its own Yuniverse. The music, although
Rajović‘s song is not an all-(post-)Yugoslav hit and it is in fact a post-Yu production, works as an
overall ‗feeling enhancer‘ and it binds the digital memorial successfully together. Via musical
dubbing, the images emerge in a new dimension, which additionally contributes to the creation of
this particular interpretation/rendition of the Yuniverse. Similarly as in the case above, the
Yugoslav past, as renarrated according to the maker‘s interpretation, comes to its digital (after)life
considerably differently as the daily political debates and clashes over historical interpretation
would have us believe. The lyrics, originating in the present, again present a nostalgic statement:
Kad ponos ljubav ubije [When the pride kills the love]
i kada sveto i prokleto se spoje [And when the sacred and the damned merge together]
kad sjutra nam ne osvane [when the sun doesn‘t rise in the morning]
i kada jedno se rastavi na dvoje [and when one breaks in two]‖
... implying that the reasons for the collapse of the state lie in nationalisms that prevented any
prospect of commonly shared future. In the next line, Rajović sings:
Tek tada sebi priznaću [Only then will I admit to myself that you‘ve been]
282 Orality in the sense of many-to-many ‗communicative disorder‘ unimaginable in one-to-many print or broadcast
media communications.
140