<Record><identifier xmlns="http://purl.org/dc/elements/1.1/">URN:NBN:SI:doc-57I0DMTP</identifier><date>2002</date><creator>Govedić, Nataša</creator><relation>documents/doc/5/URN_NBN_SI_doc-57I0DMTP_001.pdf</relation><relation>documents/doc/5/URN_NBN_SI_doc-57I0DMTP_001.txt</relation><format format_type="issue">2</format><format format_type="volume">23</format><format format_type="type">article</format><format format_type="extent">str. 167-178</format><identifier identifier_type="ISSN">0353-4510</identifier><identifier identifier_type="COBISSID">19506477</identifier><identifier identifier_type="URN">URN:NBN:SI:doc-57I0DMTP</identifier><language>eng</language><publisher>Filozofski inštitut ZRC SAZU</publisher><source>Filozofski vestnik</source><rights>BY-NC-ND</rights><subject language_type_id="slv">Dogma 95</subject><subject language_type_id="eng">film</subject><subject language_type_id="slv">filmska gibanja</subject><subject language_type_id="slv">filmska teorija</subject><subject language_type_id="slv">filmski režiserji</subject><title>What a wonderful fascism: claiming the real in Lars von Trier and Dogma 95</title></Record>