"The Battle of Kosovo", 1989 TV film is, of course, completely fictitious account of an historical event - a battle which took place in the Kosovo Field six centuries ago, between Ottoman Empire military and military coalition of central and south European Christian kingdoms and principalities. However, it was produced with very specific purpose and intent in extremely precarious times for Serbia and Yugoslav union: as media centerpiece for ethnic mobilization of Serbs in Serbia and around Yugoslavia prior to the war of the 90's.
Film itself was produced as a part of the centennial celebration of this historic battle, which took place exactly 600 years ago to 1989. Central event, which attracted audience of over a million Serbs, most of whom came from Serbia proper, was held on June 28 1989 on an open meadow known as Gazimestan at Kosovo Field, a battle historic site near city of Pristina - today capital of Republic of Kosova, at the time Yugoslav autonomous province in grave turmoil already for entire decade, which culminated in unlawful stripping of provincial autonomy by Serbian political establishment just year or so prior to film release and anniversary celebration. Gathering at Gazimestant peaked, and is today remembered for, with then-president of Socialist Republic of Serbia, Slobodan Milosevic, notorious Gazimestan Speech.
And like Milosevic speech and gathering itself, movie too gained its notoriety among researchers and wider public outside Serbia as an example how media, and art in particular, got involved assuming an ominous role in social and political justification of constitutional breach, one that led to Socialist Republic of Serbia absorption of the province and later into its preparation for soon to erupt wars and ethnic cleansing, masterminded and steered by political and military leadership of this former republic, with Slobodan Milosevic at its helm, and which ensued just two years later and raged for entire decade, taking lives of hundreds of thousands, mostly non-Serbs, and livelihood and dignity of a millions of people including countless Serbs.
In that sense numerous researchers and historians, even in Serbia among more progressive intellectuals and critics, often place "The Battle of Kosovo" into "propaganda film" category, or more broadly, into Serbian wider pre-90's war propaganda effort in preparation for what was coming around the corner.
And since it certainly fits the bill, this piece of propaganda film can be and is perceived as Serbian version of "The Birth of a Nation" or "Triumph of the Will", only executed with much, much less talent and with little if any wider influence on development of art of filmmaking. Though, like both of these anthological master-pieces, "The Battle of Kosovo" too provides some poetical and visual appeal, depending on taste, and like both "The Birth of a Nation" and "Triumph of the Will", despite some obvious and palpable qualities, it was too immersed into deep controversy.
Unfortunately, however, with its narrations, poetics and imaging in portrayal of an "old enemy" and intruding "Other", the "Turk", film was extremely efficient in stimulating regressive identity atavisms, by signaling and directing viewers emotional reactions toward the "New Turk" of the age: Bosnian Muslim -Bosniaks and Kosovar Muslim -Albanians. As such it had enormous and undeniable influence on perpetuation of hatred and myth-making, while encouraging rise of new wave of Serbian ethno-nationalism, ethnic and social mobilization which will explode into vengeful war campaigns against this perceived new "old enemy", despite obvious anachronism, just two years later, between 1991 and 2000, with horrible and tragic consequences.
