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meaningful in late-twentieth-century Yugoslavia, shows how everyday German-language racialised imaginaries in the region could remain. German fascination with Native Americans, ignited by Karl May's Winnetou novels (1875–1910), inspired hobbyist re-enactment groups and many popular films, and arguably represented a certain racial exceptionalism itself (May's white German protagonist, allied with Natives against villainous Americans, embodied a brotherhood with the Indian hero that distanced the nation from its own colonialism) (Sieg 2002 ). This fascination was directly

in Race and the Yugoslav region

through dress, simulations of African-American Vernacular English in rap, and most visibly when directors placed black dancers alongside the white musicians in some videos that gave the genre an audiovisual identity. One 1996 video featuring two Cro-dance singers who established longer pop careers than most, Nina Badrić and Emilija Kokić, for their song ‘Ja sam vlak’ (‘I am a train’ 2 ), for instance, used graffiti-covered concrete urban sites to evoke the inner-city landscapes (racialised as African-American) of US hip-hop photography and video, and

in Race and the Yugoslav region

society’s left-​behind. The novel won the Pulitzer Prize in 1984 and was made into a film starring Jack Nicholson and Meryl Streep. The screenplay was by Kennedy and faithfully followed the novel’s plotline. It was released in 1987, the same year that Wall Street was released, with its motto ‘greed is good’. Leaving Las Vegas seems to follow in Ironweed’s footsteps –​a novel first (1990), then a film (1995), with both novel and film very much a part of the social and cultural landscape of overdriven consumerism and self-​indulgence. If Ironweed’s critique of capitalism

in The Existential drinker
Abstract only

means of mastering the elemental forces of a technological second nature. Photography and film accustom humanity to the new apperceptions conditioned by technology. Technological art – like film and photography – becomes the site of exploration of future relations between the technology and the 58 Our comments on Benjamin are cursory. For scholarly work on Adorno and Benjamin see Buck-Morss, Origin of Negative Dialectics, and A. Benjamin, ed., The Problems of Modernity: Adorno and Benjamin (London: Routledge, 1989). Useful collections in English on Benjamin include G

in The structure of modern cultural theory