Pavle Levi’s insightful and well-argued book  Disintegration in Frames: Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema examines the evolution of the national Yugoslav and regional post-Yugoslav cinema within its shifting political and cultural landscape – initially  in the context of individual expression under the repressive government of Josip Broz Tito  then subsequently  as a reflection of ideologically motivated historical revisionism that sought to reinforce the myth of deep seated ethnic conflict and selective representation as a means of defining national identity through the artificial creation – and consequently  justified persecution – of the other