Matches in DBpedia 2014 for { ?s ?p That Kusturica is consciously making propaganda, rather than merely being a victim of aesthetic inspiration gone politically wrong, is proved by his use of documentary material. Wherever possible he uses films that discredit either other Yugoslav nations or the 'rotten West conspiring against Serbs'. We are thus presented with archival footage showing the Nazis being welcomed in Zagreb and Ljubljana in 1941. When dealing with the present war, however, Kusturica refuses to use archival film - to show, for example, the bombardment of Vukovar, or the three-year-long destruction of his native city by the Serbian army - just as he refuses to show us film of the triumphalist farewell given in Belgrade to the Yugoslav army and its tanks as they went to wage war, this war, in Croatia and Bosnia, against literally unarmed people. At his press conferences, he refers to the war in Bosnia as 'civil war'. He describes as 'an earthquake' a war which was prepared politically and militarily in detail for months in Belgrade; which was started by special units sent from Belgrade to Bosnia; and in which the worst crimes, rapes and deportations of population have been executed according to a plan and without the least spontaneity - all with the aim of creating ethnically pure territories in Bosnia. A major role in all this was played by Belgrade Television. If this is an earthquake, then Kusturica is indeed the spontaneous and naive artist he pretends to be, just as spontaneous, naive yet all-powerful as his heroes, who destroy and kill all about them out of generosity of spirit and love of Yugoslavia, its other people and nations - the same love and generosity that has motivated Arkan and Šešelj.. }
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- Underground_(1995_film) text "That Kusturica is consciously making propaganda, rather than merely being a victim of aesthetic inspiration gone politically wrong, is proved by his use of documentary material. Wherever possible he uses films that discredit either other Yugoslav nations or the 'rotten West conspiring against Serbs'. We are thus presented with archival footage showing the Nazis being welcomed in Zagreb and Ljubljana in 1941. When dealing with the present war, however, Kusturica refuses to use archival film - to show, for example, the bombardment of Vukovar, or the three-year-long destruction of his native city by the Serbian army - just as he refuses to show us film of the triumphalist farewell given in Belgrade to the Yugoslav army and its tanks as they went to wage war, this war, in Croatia and Bosnia, against literally unarmed people. At his press conferences, he refers to the war in Bosnia as 'civil war'. He describes as 'an earthquake' a war which was prepared politically and militarily in detail for months in Belgrade; which was started by special units sent from Belgrade to Bosnia; and in which the worst crimes, rapes and deportations of population have been executed according to a plan and without the least spontaneity - all with the aim of creating ethnically pure territories in Bosnia. A major role in all this was played by Belgrade Television. If this is an earthquake, then Kusturica is indeed the spontaneous and naive artist he pretends to be, just as spontaneous, naive yet all-powerful as his heroes, who destroy and kill all about them out of generosity of spirit and love of Yugoslavia, its other people and nations - the same love and generosity that has motivated Arkan and Šešelj.".