And the Marble Ass saw the second coming of Tito: Želimir Žilnik’s cinematic representations of a transitional society through the revolutionary carnivalesque

The violent disintegration of the federation at beginning 1990s transformed Yugoslav sphere into a landscape plagued by its complicated shared history and arduous process transition. Coinciding with Milošević’s tendencies towards Greater Serbia, Belgrade became an intersection anti-war activists, socio-economic difficulties, nationalist propaganda. Produced within microcosmos post-socialist society undergoing transition, Želimir Žilnik’s Tito Among Serbs for Second Time (1994) Marble Ass (1995) can be understood through Kevin M. F. Platt’s (1997) notion ‘revolutionary grotesque’. For Platt (1997), revolutionary grotesque is artistic response that emerges during periods radical social transformation, it marked unusual confrontations deformations past future. paper will examine nature found in films collective memory post-war trauma transgressive individuals. To understand blend documentary fiction, which often deploys carnivalesque, I introduce term carnivalesque’ to further corroborate filmmaker’s cinematic representations transitional as space turned upside down.