Zoe Aiano recounts the way WWII films from the Baltics have kept reassigning the roles of culprits, albeit always from a position of moral superiority.
Moritz Pfeifer places Yervant Gianikian and Angela Ricci Lucchi's Armenian films in the context of the aesthetics that have dominated European memory culture.
Daniel Fuller looks at the way a Ukrainian computer game transfigured folkloric processes of remembering, drawing parallels to Andrei Tarkovsky’s Stalker.
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