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in the latter case the interlocutor is performing for the apparatus (cinema), which then mediates the performance to the audience. Translated into DME, a similar distinction emerges in performances by the participants in online communication: all commentators perform for the apparatus: SUFFiCE IT TO SAY: TITO!!! MaxDaneLaf While many among them, those engaged in discussion (e.g. some of the bitter commentators above), also perform for a more specific audience. As members of an on-the-fly community (of remembering) they mainly direct their comments to one another (although also to all who happen to surf by). 146 Partisans Forever Another case I would like to discuss in some detail is a digital memorial ―Azra-Partizan‖ made by user xPartizani0zauvijekX. 292 The video description reads: Uploaded by xPartizani0zauvijekX 5 February 2009 Mome djedu [For my Grandad] R.I.P 21.3.1921-3.1.2009 Category: Film and animation Tags: antifa partizani azra partizan antifascist red star hammer and sickle tito 293 This video offers a particularly interesting read on the both audiovisual and textual-commentary levels. It is dedicated to the maker‘s grandfather and features a selection of photographs and archival footage edited into a visually narrative. On the audio level, the video builds the story on the song ―Partizan [The Partisan]‖ performed by the former Yugoslav band Azra, which is a cover (indeed a thorough re-writing) of the WWII ―La complainte du partisan.‖ 294 The song became increasingly famous when Leonard Cohen released the English version, ―The Partisan,‖ on his 1969 album Songs from a Room. It was then covered by numerous artists throughout the remainder of the 20th century because of its celebration of the resistance against Nazi occupation and more: it was the song epitomising leftist conceptualisation of resistance against any 292 XPartizani0zauvijekX, ―Azra-Partizan,‖ http://www.youtube.com/watch?v=pSOA_B11SjU, accessed 23 August 2010. 293 Ibid. 294 The song was written in London in 1943 by Emmanuel D‘Astier de la Vigérie and Anna Marly. See ―Song of the French Partisan,‖ www.leonardcohensite.com/partisaneng.htm, accessed 23 August 2011.
oppression. And the cover by Azra, i.e. and the re-write by the band‘s lead singer Branimir Štulić Johnny continues in this vein, particularly when the singer‘s personal stance of opposition to any regime is taken into consideration. Throughout the 1980s Azra was one of the new wave bands that expressed occasionally fierce discontent with the state-of-affairs in Yugoslavia, and remaining true to his views. Štulić refashioned his oppositional stance in response to the changing situation in Yugoslavia, particularly in Croatia. Hence it is clear why it was chosen by Xpartizani0zauvijekX: it fits nicely into the Yugoslav myth of partisan resistance movement which was essentially related to pan-European anti-fascist resistance during the WWII and it conveys neatly the general idea of the memorial. The fight for liberation was an honourable act marked by hardship and devotion to freedom. And, along the very personal grief, it is this, the essentially humane act that deserves respect in the ‗corrupted‘ present. Moreover, it fits even more snugly into the present when the old generation is inadvertently leaving and the new youth is to find their place in the debris of the shattered post-war dream. Taking a look first to the formal structure of this 4MO, it can be seen that since it first appeared in YouTube in February 2009 the video has had 37,735 views. Within the first month online it was embedded on Facebook; geographically, it is understandably most popular in the territory of the former Yugoslavia. Before going any further, it has to be said that this is not the only digital memorial that uses this song: as I go along I will bring into discussion another one, uploaded in June 2008 by stjepko357 295 ; additionally I will also discuss a video uploaded by majorsnag, 296 which tells a story in a similar fashion, using a much more globally popular Leonard Cohen‘s version. The reason why these three digital memorials are investigated together is—due to the topic (global anti-fascism), music and narrative strategies—fairly obvious, yet it has to be said that xPartizani0zauvijekX‘s is the archetype of a digital memorial. Archetype in the way it uses audiovisual elements, in that it is dedicated to a specific person and at the same time to a country and a worldview, anti-fascism. 295 stjepko357, ―Branimir Štulić – Partizan,‖ http://www.youtube.com/watch?v=6Ax1NkaBAWM, accessed 23 August 2011. 296 majorsnag, ―Leonard Cohen – The Partisan,‖ http://www.youtube.com/watch?v=oG4ndbhOkpI, accessed 23 August 2011.. 147
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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
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time.‖ 127 Drawing on this concep
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the different musics‘ ―common f
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Blogging and Memory The practice of
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enhanced in blogging, it apparently
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and enthusiasts alike. Thus, for in
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videos are used as audiovisual reco
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Figure 4 | Yugoslav Airlines Luggag
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the posts are fairly scant textuall
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Finally, if initially recording and
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spectacle for which that audience h
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usiness) and outdated principles of
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and replaying music require much le
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encourages the visitors to buy. 173
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also provides a genre distinction a
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initial way for the past to ‗surv
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Through referring (nostalgically) t
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posts he uses a first-person, very
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the past ... on the part of the vis
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uploaded, so do share with others.
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music. Such blog-enabled preservati
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This activity is in a way similar t
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I guess that in 1984 Luna and Katar
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TCHECHOSLOVAKIA, HUNGARY, ROMANIA,
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Page 101 and 102: Chapter 3 | YouTube and Digital Mem
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Page 105 and 106: In the category of vernacular or us
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Page 119 and 120: and use of technology, also as ‗g
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Page 125 and 126: The ending of the video sends a ver
Page 127 and 128: Milošević giving a speech is embe
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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
Page 145: HERZEGOVINA, THAT IS, IT IS THE ONL
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Page 151 and 152: Figure 30 | The closing scene. What
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Page 169 and 170: Facebook: Digital Sociability and M
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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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