The Film as Political School project deals with the filmic representations of Kosovo during the twilight of Yugoslavia—of nationalism, apartheid, uprisings, class struggles and state violence. The project distills its narrative from the images of the 1980s, a time when multiple political crises intertwined with social unrest, and the widespread commodification of cultural forms was dawning. The aim of the project is to picture this history through its gaps, to put them into motion. The project treats film as a research tool that has the capacity to uncover this historical period’s visual palimpsests.
The second volume of Film as Political School series, Limits of Representation, presents the first English translation of Gani Bobi’s critique of manipulations in the media regarding Kosovo in the late eighties, together with Sezgin Boynik’s extensive analysis of Srđan Karanović’s experimental film Za Sada Bez Dobrog Naslova_ (A Film without a Name) made in 1988 on Albanian-Serbian relations. -Publisher