On its more general level, by focusing on several post-Yugoslav feature movies, this paper examines the politics of post-socialism and post-socialist memory particularly concerning both the post-Yugoslav mnemonic landscape and the overall European cultural memory politics. Leaning foremostly on concepts of the travelling or the dynamics of memory (Erll, Rigney), and the figurations of multidirectional memories (Rothberg), the reading of these features of memory in selected most contemporary post-Yugoslav movie co-productions particularly engage with specific the variety of dominant narratives and the work of affect as well. This however will be argued rather in a twofold manner: namely, within the post-Yugoslav memory culture which is primarily grounded on the competing ethno-nationalist discourses on one hand, and asset in a dialogue with the larger European and transnational mnemonic and political context on the other. Thus, by looking into several films in particular – Smrt u Sarajevu (Danis Tanović, 2016), Stanje šoka (Andrej Košak, 2011), Atomski Zdesna (Srđan Dragojević, 2014), Muškarci ne plaču (Alen Drljević, 2017), Tilva Roš (Nikola Ležaić, 2010). – the paper argues that such an examination of memory relates not only to the re-established (center/periphery) binaries in terms of dominant mnemonic (con)texts or policy-production and -distribution. More explicitly, such an analysis also points to a number of societal and political ruptures, which relate to the socialist legacy and equally affect the ruling European post-socialist discourse. As these texts surely operate as both 'memory productive' and 'memory reflexive', in Astrid Erll's terms, I also look at them as alternative and audiovisual archives. i.e. archival interventions (Brunow). It is therefore interesting to regard the extent to which they correlate with each other, but their potential to open new dialogues and transnational memory assemblages in highlighting the narrative lines of loss, affectivity, and counter-legacies. In the last instance, as these works challenge the dominant ethno-nationalist paradigms and collective identities, they could also point to different figurations of marginal identities and trajectories of remembrance, mainly by playing in between the memory-sites, -knots and non-places respectively.
