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Cinema antikomunisto, or how ideology doesn't move anything

ABSTRACT The article offers a critical reading of two documentaries that tackle Yugoslav socialist past: Mila Turajlić's Cinema Komunisto and Marta Popivoda's Jugoslavija, kako je ideologija pokretala naše kolektivno telo/Yugoslavia, How Ideology Moved Our Collective Body. Both films maintain what we deem the ‘anti-Communist hypothesis’: the assumption that the socialist Yugoslavia was first and foremost an ideological construction, used by the Communist Party to manipulate the consciousness and the body of the people. Using theoretical lenses of Jacques Rancière and Alain Badiou, the article analyzes thematic differences and similarities of the films. In our reading, for all their differences, the films have a common contradiction: both Turajlić and Popivoda criticize the illusionary and ideological nature of the Yugoslav socialism, while simultaneously indulge in a nostalgic view on the country's past. Caught in-between condemnation and fascination, the documentaries fail to problematize their own retrospective post-socialist look into the socialist past and legacy, remaining silent on some of the main specifics of the Yugoslav context.