Bengi Muzbeg completed his bachelor’s and masters’ degrees in Ankara and received his PhD in Cinema from Marmara University in Istanbul. After working as a journalist at the Kosovo Public Television RTK for six years, he started working at Lumbardhi Foundation in Prizren as an archive and film program manager in 2022. Bengi focuses on topics such as ideology, discourse, and manipulation in cinema. In this study, Bengi analyzes Srdan Karanovic’s film Za sada bez bobrog naslova – A Film with No Name (1988), in terms of discourse. Analyzing the film through discourse analysis includes considering the political and social developments of the period in which the film was shot and screened within the scope of the analysis. This paper examines how the nationalist narrative that emerged in the late 1980s impacted daily life, the language used in the media, and film narratives. The analyzed movie is regarded as a bold attempt to highlight the absurdity of that period. However, although Za sada bez dobrog naslova touches on the relationship between a Kosovar Albanian and a Serb, it does not delve deeply into this conflict. Instead, the film focuses on issues such as film production practices, the functioning of the media at the time, and the manipulation that occurred.
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