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This article highlights issues pertaining to the Sephardim ([-im] is the masculine plural Hebrew ending and Sepharad is the Hebrew name for Spain. Sephardim thus literally means the Jews of Spain) in Sarajevo from the time of their arrival in the Ottoman Empire in the late fifteenth century until the present day. I describe the status quo for the Sephardi minority in post-Ottoman Sarajevo, in the first and second Yugoslavia, and in today's post-Communist Sarajevo, the capital of Bosnia and Herzegovina. The objective is to shed light on how historic preconditions have influenced identity formation as it expresses itself from a Sephardic perspective. The aim is moreover to generate knowledge of the circumstances that affected how Sephardim came to understand themselves in terms of their Jewish identification. I present empirical findings from my semi-structured interviews with Sarajevo Sephardim of different generations (2015 and 2016). I argue that while none of the interlocutors conceive of Jewish identification as divergent from halachic interpretations of matrilineal descent, they moreover propose other conceptions of what it means to be Jewish, such as celebrating Shabbat and other Jewish holidays, and other patterns of socialization. At the same time, these individuals also assert alternative forms of being Bosnian, one that includes multiple ethnicities, and multiple religious ascriptions. This study elucidates a little-explored history and sheds light on the ways in which historical conditions have shaped contemporary, layered framings of identification among Sarajevo's current Jewish population. This article is relevant for those interested in contemporary Sephardic Bosnian culture and in the role and function of ideology in creating conditions for identity formation and transformation.

Design group Trio Sarajevo (husband and wife Bojan and Dalida (Durakovic) Hadzihalilovic and collaborator Leila Mulabegovic Hatt), formed in 1985, was part of the Sarajevo generation which was raised on the punk culture and pop-art movements. Trio Sarajevo opted to remain in Sarajevo during the war in Bosnia, continuing to earn a living as commercial designers. This postcard redesigns the iconic Hollywood Sign overlooking Hollywood, Los Angeles, California, on Mount Lee. The "Sarajevo" version features the communication (TV) tower on Trebevic Mountain. ; https://griffinshare.fontbonne.edu/trio/1003/thumbnail.jpg

Design group Trio Sarajevo (husband and wife Bojan and Dalida (Durakovic) Hadzihalilovic and collaborator Leila Mulabegovic Hatt), formed in 1985, was part of the Sarajevo generation which was raised on the punk culture and pop-art movements. Trio Sarajevo opted to remain in Sarajevo during the war in Bosnia, continuing to earn a living as commercial designers. This postcard redesigns the iconic Hollywood Sign overlooking Hollywood, Los Angeles, California, on Mount Lee. The "Sarajevo" version features the communication (TV) tower on Trebevic Mountain, southeast of Saravejo. ; https://griffinshare.fontbonne.edu/trio/1002/thumbnail.jpg

Design group Trio Sarajevo (husband and wife Bojan and Dalida (Durakovic) Hadzihalilovic and collaborator Leila Mulabegovic Hatt), formed in 1985, was part of the Sarajevo generation which was raised on the punk culture and pop-art movements. Trio Sarajevo opted to remain in Sarajevo during the war in Bosnia, continuing to earn a living as commercial designers. This postcard redesigns the iconic Sex Pistols image for its single "God Save the Queen" created by English artist Jamie Reid based on a Cecil Beaton photograph of Queen Elizabeth II. ; https://griffinshare.fontbonne.edu/trio/1001/thumbnail.jpg

Design group Trio Sarajevo (husband and wife Bojan and Dalida Hadzihalilovic and collaborator Leila Mulabegovic Hatt), formed in 1985, was part of the Sarajevo generation which was raised on the punk culture and pop-art movements. Trio Sarajevo opted to remain in Sarajevo during the war in Bosnia, continuing to earn a living as commercial designers. This postcard redesigns the iconic Sex Pistols image for its single "God Save the Queen" created by English artist Jamie Reed [sic. Reid] based on a Cecil Beaton photograph of Queen Elizabeth II. ; https://griffinshare.fontbonne.edu/trio/1000/thumbnail.jpg

In Cinema 1 and Cinema 2, Gilles Deleuze posits a huge change in the nature of cinematic time in the postwar years. In "Postscript on the Societies of Control," he also claims to identify a change in power relations and control strategies that takes in a number of other media transformations. Taken together, these arguments point toward a broader transformation in the history of thought that is developed across Deleuze's work, but also raise a number of problems. This essay will critique and rearticulate the terms of Deleuze's media philosophy in relation to work by Paul Virilio on media and warfare. This critique is organized around a study of the recent films of Jean-Luc Godard, which focus on the recurrence of the images of the mainstream culture industry and their transformation in wartime Sarajevo. It argues that Godard's work is concerned with a cinema of cliché, following Deleuze's conceptualization of cliché in Cinema 1 and Cinema 2, and that this raises important political dimensions to Deleuze's cinema philosophy and his theorization of media control.