This article examines how post-war Bosnian cinema mediates the unresolved absences of the Bosnian War through its cinematic portrayals of widowhood, mourning, and survival. Drawing on multi-sited ethnographic fieldwork among Bosnian war widows and a close reading of three films— Halima’s Path (dir. Arsen Anton Ostojić, 2012), Snow (dir. Aida Begić, 2008), and Days and Hours (dir. Pjer Žalica, 2004)—the article explores how film operates simultaneously as a repository of cultural memory and as an ethnographic lens into the lived afterlives of genocide. I argue that cinematic narratives of absence and endurance offer a counterpoint to the dehumanizing tendencies of nationalist historiography and the quantification of loss, instead foregrounding the intimate textures of grief, resilience, and feminine agency. By weaving ethnographic observation with film analysis, the study illuminates how post-war cinematography assumes a feminist political role—making visible the everyday struggles of women on the social margins and reframing their experiences as central to collective remembrance. Ultimately, I contend that film and ethnography together reveal how the missing persist not as voids but as vital presences, intricately woven into the moral, emotional, and cultural fabric of post-genocide Bosnia.

The neuroanatomy course consistently presents significant challenges, primarily due to the short lifespan of formalin-preserved brain specimens and their restricted availability. Numerous studies have evaluated the strengths and limitations of alternative resources for neuroanatomy education, with a particular focus on technology-based learning methods. This study aimed to assess the effectiveness of integrating 3D printed models into the neuroanatomy curriculum and to evaluate student satisfaction with their use. The experimental group consisted of the first-year students enrolled in the integrated study program at the University of Sarajevo-Veterinary Faculty during the summer semester of the academic year 2022/2023. The course was organized using 3DP models for 15 h, while during the remaining three hours formalin-preserved specimens were utilized. Data obtained from this cohort were compared with the results of the previous two cohorts (2021–2022 and 2020–2021), who studied veterinary anatomy exclusively using formalin-preserved specimens. The neuroanatomy test scores improved in the experimental group compared to the two control groups. The students exhibit positive attitudes and report high satisfaction with using 3DP models. They support innovative teaching methods and find that the colored segments of the models enhance recognizability of different anatomical structures, highlighting the didactical value of 3DP models. Overall, study demonstrated that 3DP models were highly beneficial for neuroanatomy learning, pedagogically useful and well-received by students.

In this article, I explore how the memories of the missing men that perished in the Bosnian War have been framed, forged and relayed among the surviving family members by means of photography. I analyse three cases of the use of photography and its creative processing among the surviving relatives through which they sought to add a sense of individuality to the objects of camera – their missing family members. The data for this article are derived from my ethnographic engagement with the Bosnian communities of genocide survivors resettled in Australia and the United States, combined with the visual analysis of artworks relative to the topic of lost family members. The article also highlights the conductivity of photography through which the post-generation identifies with and processes the ancestral trauma of genocide. The findings from this article re-visit the importance of materiality in the service of memory, through which the loss is mediated, transformed, transmitted and embraced. I argue that closer scholarly engagement with personal(ised) modes of honouring and remembering the individual victims of genocide can foster a better understanding of its emotional reverberations and impact on the healing of affected societies.

Abstract The subject of transgenerational legacies of war and forced migration has been increasingly gaining traction in the academic sphere. However, most of these studies yielded clinical implications, neglecting the role of culture in responding to the crisis engendered through the wholesale destruction of communities. The present paper examines how compounding of these phenomena impacted the formation of the social identities among the second-generation Bosniak1 migrants, whose parents survived the genocide in Srebrenica three decades ago and were forced to resettle in Australia. I focus on their family and homemaking practices in the diaspora by drawing upon findings from my ethnographic fieldwork in Melbourne. I found that the shared experience of place-based trauma of genocide serves as a connective tissue that binds the children survivors in “trans-local endogamous” marital unions through which they seek to preserve, perform and reproduce their unique (trans)local, cultural, as well as relational identities.

The volume Remembrance and Forgiveness, edited by Ajlina Karamehić-Muratović and Laura Kromják, brings together a diversity of disciplines, authors, and cultural contexts to discuss the legacies of the post-Holocaust era genocides by focusing on the (de)mobilisation of memory in seeking truth, justice, and forgiveness. The book provides a compendious overview of the social, historical, and political contexts behind the insurgencies and gives a better sense of understanding of (the obstacles to) the healing process and reconciliation in the global frame.