Location of Repository

'It's all the same, only he's not here'?: popular music and political change in post-Tu?man Croatia

By Catherine Baker

Abstract

While Franjo Tu?man was the president of Croatia (1990–99), popular music and other forms of entertainment were heavily structured around the key presidential narratives: Croatia’s political and cultural independence from Yugoslavia, and the idea that Croatia’s war effort had been purely defensive. After Tu?man, the Croatian music industry had to cope with media pluralism and the transnational challenges of the digital era. Patriotic popular music expressed an oppositional narrative of Euroscepticism and resistance to the Hague Tribunal, yet Croatia retained and expanded its position in the transnational post-Yugoslav entertainment framework, undermining a key element of Tu?man’s ideology

Topics: M1, PG, DR, D839
Year: 2010
OAI identifier: oai:eprints.soton.ac.uk:141612
Provided by: e-Prints Soton

Suggested articles

Preview

Citations

  1. (1995). Banal Nationalism doi
  2. (2006). Croatia and the European Union: a Long Delayed Journey’, doi
  3. (1990). Culture, Communication and National Identity: the Case of Canadian Television doi
  4. (1995). Darko Hudelist. ‘U podzemlju hrvatske zabavne glazbe’, Globus,
  5. (1998). HDZ na HRT u: uzbuna u Vijeću Europe!’, Globus,
  6. (1999). Ima li korupcije na HTV u?’, Globus,
  7. (2002). Lica društva, likovi države (Zagreb, Biblioteka Nova
  8. (1998). Music, Politics and War in Croatia in the 1990s: an Introduction’, in Pettan S. doi
  9. (1998). Music, Politics and War: Views from Croatia (Zagreb, Institute of Ethnology and Folklore Research). doi
  10. (1999). Nacional otkriva tajni HDZ ov plan osvajanja radijskog monopola’,
  11. (1998). Narodnjaci haraju Hrvatskom!’,
  12. (2009). Recollecting Violence: Gender, Religion and National Identity in Central Dalmatia’.
  13. (1998). Regional and National Aspects of Tamburica Tradition: the Case of the Zlatni dukati Neotraditional Ensemble’,
  14. (2002). Rock po istrijanski: o popularnoj kulturi, regiji i identiteta (Zagreb, Naklada Jesenski i Turk).
  15. (2003). The Formation of Croatian National Identity: a Centuries-Old Dream? (Manchester and doi
  16. (2006). The Politics of Performance: Transnationalism and its Limits in Former Yugoslav Popular Music, doi
  17. (2006). The Way We (Just Me, Myself and I) Were: Recycling National Identities in Recent Popular Music’. Paper presented at Musical Culture and Memory conference, Musicological Faculty, University of the Arts,
  18. (2005). Thompson nove vlasti’, Globus,
  19. (2004). Thompson postao vlasnik Narodnog radija’,
  20. (1997). Video, War and the Diasporic Imagination (London and doi
  21. (1997). Vjerujte, Zabavni program HRT a funkcionira kao složna obitelj’, Globus,
  22. (2009). War Memory and Musical Tradition: Commemorating Croatia’s Homeland War through Popular Music and Rap in Eastern Slavonia’, doi
  23. (2008). When Seve Met Bregović: Folklore, Turbofolk and the doi
  24. (2007). Yugo Nostalgia: Cultural Memory and Media in the Former Yugoslavia’, doi

To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.