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Published by Kinema "Jusuf Gërvalla", 2020-04-20 12:25:08





Financed by: Supported by: Implemented by:


The greatest thank you goes to all those who contributed in the realization of this
publication, institutional officials, interviewees, and Anibar volunteers.

A special role in the realization of this publication have had the interviewees who, in
one way or another, were related to the Cinema, former-employers of the Cinema,
institution officials and current employers.

The citations used in the publication were taken from interviews conducted with
people who remembered the Cinema in different periods and talked about the
importance it had in the culture of Peja over the years.

The realization of this publication was made possible within Anibar’s Project
“Promoting Cultural Heritage in the Region of Peja”, which is developed under the
GrassRoots Action Support Project, implemented by IKS, Lens and FES, funded by the
European Union and managed by the European Union Office in Kosovo.

“This publication has been produced with the support of the European Union. The
content of this publication is a responsibility of Anibar and in no way can it be
considered a position of the European Union on IKS, Lens and FES.”

Finally, we would like to thank the implementing team of this publication which is the
Anibar staff for their perseverance and their good work in the process of collecting
information and compiling the publication.

Published by: Anibar
Project: Cultural heritage in Peja region

Research team:

Granit Karagjyzi
Lum Radoniqi

Consultant: Valton Marku, Vullnet Sanaja
Design: Panot Mahmutaj

Project manager: Arlinda Kastrati


Abstract 6

History of the Cinema 8

Inside the “Jusuf Gervalla” Cinema over the years 11

The Cinema between the Violence and Oppression of the ‘90s 15

A new cultural life emerges from the ruins: “Jusuf Gërvalla”

Cinema after the 2000s 18

Anibar: The Preservation and Revitalization of the

“Jusuf Gervalla” Cinema 21

The Cinema’s Archive 24

Kosova Film in Kino Rad 27

References 29


This research paper aims to summarize the history of the only cinema in the
city of Peja which is today known as “Jusuf Gërvalla” Cinema. This summary is
divided into three parts. The first part deals with the history of cinema,thecon-
struction of the building and its functions as a social enterprise. The second part
outlines the activities that have taken place in the cinema building. These
activities will be outlined in more general terms and will include activities
dating back to the 1960s. Whereas, special focus will be given to activities after
the 1980s and 1990s, a period characterized by major political transgressions
in the former Yugoslavia that also affected cultural life in Kosovo. A part of this
research will be devoted to activities after the 2000s, namely after the end of
the war in Kosovo, a period characterized by numerous objective and subjective
problems. The third and final part will briefly reflect those few findings that have
survived the time in the archives of the cinema.

In order to conduct this research, a combination of primary and secondary data
was made; and mainly the qualitative method was used. Primary data included a
series of interviews with former cinema workers of the pre-war period, with film
lovers who had a closer relationship with the cinema and interviews with workers
currently engaged in maintaining the”Jusuf Gervalla” Cinema in operation. The
archive of “Jusuf Gervalla” Cinema was reviewed as part of the primary data too.
Whereas, within the secondary data, relevant materials and articles by various
authors have been reviewed which directly and indirectly relate to the topics
expounded in this publication.

This booklet aims to shed light on the history of the only cinema in the city of
Peja, now known as “Jusuf Gervalla”. Although this cinema has a 65-year-old
history, the main purpose of this brief historical summary is to provide an
overview of how the cinema has functioned over the years, as well as to open up
different societal perspectives with regards to what the cinema has promoted
throughout its operation.


History of the Cinema

The “Jusuf Gervalla” Cinema, in the past known as Kino Rad (in Serbian for
“Workers’ Cinema”) was built in 1955 with the money of the Workers’ Union. The
cinema was a film screening enterprise under what was then called the
Self-governing Community of Interest in Culture (SCIC). As a working
organization, it had independent status, its own employees, its own source of
income generated from the sale of tickets that was used to pay those
employees. Among other things, it had its own competence in selection of staff,
director and it also had all the governing bodies like any other working enterprise.
Despite being under the auspices of the SCIC and the Directorate of Culture, the
cinema was considered as a separate entity by its mode of operation.

The cinema building covers an area of 731m2 and is divided into several
spaces including: the main hall, the projection room, the second floor balcony,
some office space, lobbies and toilets. The cinema is also linked with a building
called the Annex, which in the past served as a workplace for unionists, where
it is believed material goods for the construction of the cinema were generated.
This two-story building has five workspaces, two lobbies and a toilet. Although
called the Annex, this building is said to have preceded the construction of the

The “Jusuf Gervalla” Cinema (formerly Kino Radi) was built in order to provide a
cultural space in the city of Peja, whereas during the period 1955-1998 it served
as a central point of joint cultural activities for the residents of the municipality
of Peja, thus including screening of the latest films, public discussions about
different films, music concerts, theatrical performances and children’s programs,
therefore becoming one of the most frequented cultural institutions of that time.

During the post-war period, respectively in 2000, the cinema was renovated with
the funding provided by UNMIK (United Nations Interim Administration Mission
in Kosovo) in an amount of 500,000 German marks. However, as a result of
this renovation, the building has lost its form and architecture of the time, thus,
the building has lost some of its identity by reducing the number of seats, by


removing the side loggias, or by changing the stage structure and removing
the curtains, whereas the cinema eventually reopened after renovation in 2001.
Francika Hoxha, a former employee of the “Jusuf Gervalla” Cinema for 35 years,
states that after the reconstruction of the cinema finished, they had returned to
their workplaces without ever accepting a technical handover, and says that at
that time no commission had been established to consider the revitalization of
the building.

In 2002, the Municipal Assembly of Peja approved a resolution to name the
cinema after the Albanian activist, writer and musician, Jusuf Gervalla. In 2016, by
a municipal decision, the cinema with all its assets was given to the non
governmental organization Anibar, which since 2010 deals with the annual
organization of the International Animated Film Festival.

In 2016, the Privatization Agency of Kosovo (PAK) puts the building and all the
assets of the “Jusuf Gervalla” Cinema on the list of building for privatization. The
objection of this process by Anibar and the cooperation with the local community
and the Network of Cultural Organizations (ROC) in Peja, which brought together
80 other non-governmental organizations throughout Kosovo, caused the pro-
cess to be suspended.
The petition against the privatization of the cinema, for a short period, had
reached over 6 thousand signatures from the citizens of Peja. Citizen
commitment, besides saving cinema from privatization, contributed that the
building be formally included in the temporary list of protected cultural heritage
buildings.1 Today, “Jusuf Gervalla” Cinema has become a socio-cultural center
and has weekly active programs.

1Ministry of Culture, R. d. (2016, 10. 26). Republic of Kosovo. Ministry of Culture, Youth and Sports. 9
Retrieved 03 12, 2020, from

Inside the “Jusuf Gërvalla”
Cinema over the years

The cinema has operated as a cultural center over the years including a wide
range of cultural and educational activities, music concerts, theatrical
performances, recitals, children’s programs, panel discussions and events
organized to mark important dates. Because of those activities, the cinema had
become one of the most frequented and attractive cultural institutions of that
time. However, the main activity and the most important public memory is
related to the film screening.

Films of different genres were screened in the Cinema or the Cinema-Theater or
the Film as it was known by the residents of Peja. Different types of films have
been screened throughout different periods, wherefore based on the posters
that remain in the archives of the cinema, it can be noted that in the 1960s the
films known as “Western” dominated, while in the 1970s there was a domination
of Indian films of “ Bollywood ”, due to the fact that“ Western ”films had gained
worldwide fame, while Indian cinema films had also expanded to Kosovo.

In the 1980s, the domination of action films and the presence of Asian films in
the genre were evident. Throughout the 1980s, the cinema screened science
fiction films mixed with action, which are still popular today, such as Robocop
and Terminator. There were also films that were screened by the well-known
distribution house in Kosovo - “KosovaFilm”, which were usually co-produced
with distribution houses that were quite active in the former Yugoslavia.

Films that were screened in cinemas came thanks to the co-operation of an
informal cinema network in the former Yugoslavia. The films that were screened
at the “Jusuf Gervalla” Cinema were the newest films of the world cinema and
they were screened when the Kosovo cinemas had the turn. Film tapes were
used according to cinema programs. The productions were purchased with
annual licenses and were made available by distribution houses. Among them
were films purchased according to the tastes and demands of the public. For film

11 11

screenings, cinema cooperated with all the republics of the former Yugoslavia
since each republic had its own film production houses. The film tapes provided
for film screenings were carried throughout the cinemas of the former Yugosla-
via, and some of these film tapes continue to be part of the cinema archive, left
there out of the impossibility of being sent to other cinemas due to the onset
of the crisis and the wars in the former Yugoslavia. The films were screened on
three and sometimes four different daily schedules: 11:00, 14:00, 17:00 and the last
at 19:00. In cases where the attendance of a film was high, there were frequent
cases where tickets were sold on the black market at higher prices.2

For a certain period, pornographic and erotic films were screened in the
cinema too. According to former cinema official, Francika Hoxha, erotic films
were screened for a one-year period at a time when the cinema was facing an
economic crisis. This type of films was reportedly screened for the purpose
ofmaking financial profit. However, erotic and pornographic films were not
screened only in the “Jusuf Gervalla” Cinema, because they were structurally
screened by the former Yugoslav cinema network after having been screened
in all existing republics of the former Yugoslavia. There are various hypotheses
on the reasons for the screening of these films. One of the most frequently
raised hypotheses is related to the onset of the crisis in the former Yugoslavia,
where the Yugoslav system used pornography as a form of distraction from real
problems such as unemployment, inflation or to camouflage the onset of ethnic
clashes in the former Yugoslavia. Another hypothesis that was often raised
relates this screening to the initiative of the political system of the time to
combat the primitive properties of traditional and conservative societies. Such
a relation can be made based on the summary of some pornographic posters
that continue to be part of the cinema archive. One content that exemplifies the
emancipatory aspect of pornography is the film “Iskušavanje Djavola” (Tempting
the Devil) which was a co-production of Yugoslav houses “Zeta Film” (Budva) and
“Beograd Film” (Belgrade) and film house “Aria Films” from France. The summary
in the poster says that this film deals with love, intimacy and the fight against
traditional symbols. However, such hypotheses can only be substantiated or
rejected after a more detailed and structured research on this topic.
The interest in this genre of film was enormous and, among other things, brought
a huge income for the cinema. The audience included teenagers, older people,
and also a certain number of soldiers since one of the barracks in Peja was used

12 2Husaj, A. (2020, 02 03). The History of Cinema. (G. Karagjyzi, & L. Radoniqi,

by the Yugoslav army3. According to Francika Hoxha, after a year the
municipality of Peja decided to censor cinema and to stop screening these films
on the ground that these films have a negative impact on the development of
young people.

In addition to regular film screenings, concerts and performances by various
theatrical and musical groups were often organized inside the cinema. Within
the activities of the cinema are also remembered the artistic exchanges coming
from Albania where often groups of folk ensembles came and organized
different performances. Among the theatrical groups that visited the cinema
were the theater troupe “Alexander Mojsiu” from Durrës or the theater troupe
“Ndrek Luca”. Besides the theatrical troupes, there were also screenings of films
from Albania such as the film “Debatikët” by director Hysen Akani. There were
also film co-productions between “KosovoFilm” and productions from Albania,
including films: Sounds of War (1976) by director Xhanfise Keko. This film was
realized as a co-production between KosovaFilm film houses and the production
house “Shqipëria e Re”.

There was also the film “Lulëkuqet mbi Mure” (1976) directed by Dhimiter
Anagnosti. Another movie that was screened was the one based on the novel
“Bonjakët” by the writer Petrat Qafëzezi. There were other collaborations but after
the 1980s, as the political situation began to change, these collaborations were
significantly reduced.

For film screenings and other activities, cinema also used some other spaces; in
the city, the cinema used the current cinema building and the only theater (today
known as “Istref Begolli” Theater), as well as various spaces depending on the
activities. In addition to the city spaces, the cinema has also used alternative
halls across villages such as Barani, Isniqi, Zahaqi or even Vitomerica.4 The film
screening was done with the mobile projectors of the then “Kino Rad” which
enabled the screening of the films in the villages around the city of Peja. There
are projection halls in Vitomerica that are still operational but not with full

3Husaj, A. (2020, February 03). 002. (G. Karagjyzi, & L. Radoniqi, Interviewers) 13
4Pelaj, H. (2020, Shkurt 24). 005. (G. Karagjyzi, & L. Radoniqi, Interviewers)
5Husaj, A. (2020, February 03). The History of the Cinema. (G. Karagjyzi, & L. Radoniqi, Interviewers)

The Cinema between the
Violence and Oppression of
the ‘90s

At the end of the ‘80s and beginning of the ‘90s, a series of events took place
which precede the start of Yugoslavia’s disintegration. In 1989, Kosovo’s
autonomy was disestablished by the Serbian regime, whereby Kosovo lost all its
legislative and executive powers that were granted by the Constitution of 1974.
A year later (1990), Kosovo’s pupils and students were forced to leave schools,
and, on the other hand, in 1991, the war6 in Croatia broke out. Parallel to the war
in Croatia, a short conflict between Serbia and Slovenia7 also occurred. Whereas
in 1995 the war in Bosnia8 started. These major breakthroughs andcomprehen-
sive political changes in former-Yugoslavia and the start of violence against and
repression of Kosovo in particular – which in certain cases was accompanied by
riots and protests – foreshadowed the beginning of the crisis which influenced
the entire social and political field of the region. The Cinema of Peja could not
escape the influence of this political and social crisis, since film screening
stopped because Kosovo remained without any film distributers,
considering that the cinema was still operating as an independent enterprise and
their financial sustainability depended on ticket sales, the lack of film screenings
also implied lack of financial means, and subsequently fewer activities.
Francika Hoxha recalls the difficulties of that time, highlighting that the cinema
workers worked for two years without salaries. According to her, after a period
of time they had been forced to rent out the premise in order to ensure financial
means for the workers’ basic salaries.
Despite the lack of film screening, the cinema remained active with a few
concerts and theatre shows. Some of the theatre shows were organized by some
cultural artistic associations, such as: Rugova, Gora and others. There were also
theatre shows curated by the actors of Gjakova’s theatre, which were organized
on the anniversary of Albania’s independence9. Another theatre show that at-
tracted the greatest viewer attention was Faruk Begolli’s comedy “Profesor jam
talent se jo mahi”. This play had seven parts, but only three of them were played

6Igol Ilic, Ivana Sekularac. (2015, Gusht 5). Twenty years on, Croatia celebrates end of war as Serbia mourns. Retrieved Mars 7Tagliabue, J. (1991, Qershor 28). Ygoslav Army Uses Force in Breakaway Republic; Slovenia Reports 15
14, 2020, from Reuters: 100 Wounded or Killed. Retrieved Mars 14, 2020, from New York Times: https://www.nytimes.

in the cinema. The organization of the cinema’s activities in the period of great
political breakthroughs in former-Yugoslavia was followed by serious problems
and difficulties for the fact that education and culture faced constant violence
and oppression by the former-Yugoslavian police.
In some specific cases, the cinema’s activities were interrupted, when organizers
or even the performers were violently taken off the stage and were sent to police
stations, where they were interrogated about the cinema’s activities, and in some
cases they also suffered physical violence.
Syzane Baja (program coordinator at Solidar Suisse) recalls that during the ‘90s,
the cinema served as a shelter for activists who were hiding from the police of
the time after the protests that were organized. She also recalls that in many
cases the police went to her house to interrogate her father Emin Baja, too (who
was a worker at the cinema), every time there were regular activities which were
considered provocative, and oftentimes when there were protests.10
The physical violence that was exercised on the cinema’s activities in particular
and the systematic violence in general that was exercised on Kosovo’s citizens,
led to a large number of people leaving to western countries. This migration also
included some of the workers which had been initially fired. The remaining
workers continued to face physical violence and systematic repression.11
At the end of the ‘90s, violent measures were established in Kosovo, while
Albanian workers were fired and were replaced with Serbian workers. Francika
Hoxha recalls that, after the establishment of violent measures, the cinema was
overcrowded with new workers and from that moment they no longer had access
to the cinema’s activities or their income. She further adds that the Albanian
workers were isolated from every information on the cinema and recalls that they
were often menaced and verbally attacked by the new workers. This situation
continued until the Albanian workers ultimately left their workplaces. The cinema
was closed in 1998, when the war officially started in Kosovo.

16 8Balkans War: A Brief Giude. (2016, Mars 18). Retrieved Mars 14, 2020, from BBC: 9Husaj, A. (2020, 02 03). 002 (G. Karagjyzi, & L. Radoniqi,Interviewers)
com/news/world-europe-17632399 killed.html?fbclid=IwAR18u—2tg-6diSU5N1vnSG_3ctAiImnEiU-

A new cultural life
emerges from the ruins:
“Jusuf Gërvalla” Cinema
after the 2000s

After the war ended in Kosovo in 1999, the largest part of the city of Peja was
destroyed. The city cinema which was severely damaged shared the destiny of
many buildings in the city of Peja. To reactivate it a considerable amount of
money had to be invested to restore the majority of the building. The first donors
were found in Italy, while the initial idea was to turn the cinema into a classical
theater, since the building of the “Istref Begolli” Theater was under the Italian
KFOR’s control.

Considering this situation, it was exactly the Italian KFOR together with UNMIK
that enabled reaching an agreement for the cinema’s premises to be renovated
as a multifunctional building, incorporating the cinema as well as the theatre.

The funding received in 2000 achieved the amount of 500 German Marks.
• 235 thousand German Marks were granted by Communita di Biela
(Piemonte), through Missione Arcobaleno.
• 200 thousand German Marks were provided by the European Agency for
• 65 thousand German Marks were provided by the KB Fund12

Thanks to this investment the entire building was renovated and the audio and
projection equipment were changed. However, due to the renovation that was
done, the building lost its shape and architecture of the time, thus the premise
lost a part of its identity by decreasing the number of seats, omitting the side
loggia and changing the structure of the stage completely.
Throughout the renovation process, the cinema was closed from July 1 2000 to

18 10Baja, S. (2020, February 17). 004. (. G. Karagjyzi; L. Radoniqi,

be reopened on 22.02.2001.

After the building’s renovation, the cinema continued its activities. Two film
screening agreements for 2001 appear in the Cinema’s archive. In the first
agreement signed between the “Jusuf Gervalla” Cinema and “Kino-Studio
Tirana”, nine films are ensured, all being Albanian productions. In the second
agreement between “Jusuf Gervalla” cinema-theatre and “Doni LTD” which dealt
with film distribution, fourteen films were ensured, which were all American
productions. There were attempts for more cooperation such as the one with
Prishtina’s “ABC” Cinema. But such cooperation did not last long. According to
Francika Hoxha, these activities did not last longer than three months because
the citizens’ interest were much smaller compared to the payments they made
to ensure the films that they screened in the cinema. This apparently made it
impossible for the cinema to operate on a daily basis.

In the course of the first decade of the new century, activities became
increasingly sporadic, thus only having a few films which were not so highly
evaluated and some rare inter-municipal events. This situation with a great lack
of activities in the cinema continued almost until 2016, when Anibar officially
started to manage the cinema, although it used the cinema throughout the
festival since 2010.

11Hoxha, F. (2020, Shkurt 6). 003. (. G. Karagjyzi; L. Radoniqi, Interviewers) 12UNMIK. (2000). Note on the appointment of Director of “Jusuf 19
Gervalla” Cinema / Theater. Peja

Anibar: The Preservation
and Revitalization of the
“Jusuf Gervalla” Cinema

Anibar is a non-governmental organization established in 2010, which organizes
the International Animation Festival. The Anibar Festival founders were some
young people with a passion for animation whose aim was to screen short
animated films.

Anibar started negotiations with the Municipality of Peja since 2014 to increase
the number of activities in the cinema, although Anibar had been using the
cinema since 2010 for its activities during the festival period. It was not until 2014
that the cinema started to revive with programs, after the frequent negotiations
with the Municipality of Peja, which revolved around the aim of increasing the
number of the cinema’s activities which would simultaneously contribute to the
revitalization of the building which had not been passive in years. When the
negotiations with the Municipality of Peja, Anibar started creating annual

In 2016, Anibar provided a 15-year program with activities whose aim was to
revitalize the Cinema and revive cultural initiatives in Peja. The introduction of the
program with educational activities influenced the initiation of the procedures for
the use of public property. In the same year, the Municipal Assembly through a
decision, gave the cinema to Anibar to use it for a period of 15 years. The program
of activities that Anibar had presented included activities like: film screening,
discussion panels and debates, concerts, not excluding different workshops and
developing the Animation Academy.

The Cinema’s Annex where the offices of trade unions had been is currently used
for workshops, the Animation Academy and similar activities.


Nonetheless, the only cinema of the city of Peja still does not operate with daily
activities due to the lack of technical conditions, such as a digital projector which
would enable screening newer films. Regardless of these difficulties, it may be
said that “Jusuf Gervalla” Cinema is the most effective alternative source of
educational-cultural programs.


The Cinema’s Archive

Among the assets inherited by Anibar is also the cinema’s archive, which
contains film posters that were shown daily, catalogues, film leaflets; projection
equipment such as two mobile projectors, three static tape projectors, some film
tapes of the pre-war period in Kosovo, typing machines, ticket printing machines
as well as some administrative documents.

Film posters were mainly American, European and Asian productions of
different genres such as drama, comedy, romance, action, erotic, science fiction,
documentaries, thriller, horror, children’s films, and date back to the 1950s until
the end of the 1990s. A part of the posters is accompanied by film cards and
brochures, which were distributed in different parts of the town to announce the
next activity.

Posters vary as to the letter and format typology. Some of them also present
illustrations. Part of the cinema’s archive are also documents and manuals on
the use of equipment of the pre-war period, catalogues and inventories of
different distribution houses of Yugoslavia of that time which provided the latest
films of world cinematography.

Film catalogues are of a one-year time interval and contain data about the film
genre, place and date of production, the producer, actors, duration, technique,
distribution house, original language and present a short content of the films.
Catalogues of film festivals, presenting participating films in those events, are
also noticeable among them. Some of the catalogues, in addition to general data
about films, also serve as inventories of films screened throughout a year in the


Mobile projectors through which films
were screened in the villages of the Peja
district. These projectors continue to
be part of the “Jusuf Gërvalla” Cinema
Archive and are exhibited in the lobby of
the cinema on a daily basis.

Projector (32mm), brought in 2001
after the renovation done by the Italian

The film tape that remained in the
archives of “Jusuf Gervalla” cinema as
a result of not being distributed to the
next cinemas due to the onset of the
crisis in the former Yugoslavia.



Year: 1994
Original Title: FORREST GUMP
Place of production: USA

There are a large number of
postcards left in the cinema archives
that are distributed in the most
frequented parts of the city. These
postcards were with different scenes
foreshadowing the next movie that
would be screened.

2613The information is taken from the digitized database created with the data of

some posters that are part of the “Jusuf Gervalla” Cinema Archive

Kosova Film in Kino Rad

In the cinema archives, a special space is dedicated to the catalogs of film
productions of “Kosova Film”. “Kosova Film” as a film house was established on
February 20, 1969 as an organization for the production, screening and
distribution of films. It initially produced short films and documentaries and then
continued with feature films. The establishment of independent production laid
the foundations of original film production which represented local culture and
tradition. The films produced by “Kosova Film” were co-produced with other film
production houses. One of the films that has had the greatest success from the
production of “Kosova Film” that was screened in the so-called Kino Radi at that
time is “Rojet e Mjegullës” by the director Isa Qosja.

The Kosova Film Fund passed to the archive fund of the Kosovo
Cinematographic Center (KCC).


Genre: DRAMA
Year: 1988
Director: ISA QOSJA
Production house: KOSOVA FILM

14The information is taken from the digitized database created with the data of 27
some posters that are part of the “Jusuf Gervalla” Cinema Archive


Aver Husaj
Francika Hoxha
Hysen Pelaj
Suzana Baja
Vullnet Sanaja

Vita Kasapolli
Genc Morina
Ujëjeta Shatri
Ari Haxhiajdini



Baja, S. (2020, February 17). 004. (G. Karagjyzi, & L. Radoniqi, Interviewers)

Balkans War: A Brief Giude. (2016, Mars 18). Retrieved Mars 14, 2020, from BBC:

Hoxha, F. (2020, February 6). 003. (G. Karagjyzi, & L. Radoniqi, Interviewers)

Husaj, A. (2020, February 03). 002. (G. Karagjyzi, & L. Radoniqi, Interviewers)

Igol Ilic, Ivana Sekularac. (2015, Gusht 5). Twenty years on, Croatia celebrates
end of war as Serbia mourns. Retrieved Mars 14, 2020, from Reuters: https://

(2000). Contract between “Jusuf Gervalla” Cinema and “Kino Studio” Tirana.

(2001). Contract between “Doni-LTD” Prishtina and “Jusuf Gervalla” Cinema in
Peja. Prishtina.

Ministry of Culture, R. d. (2016, 10 26). Republic of Kosovo. Ministry of Culture,
Youth and Sports. Retrieved 03 12, 2020, from
Pelaj, H. (2020, February 24). 005. (G. Karagjyzi, & L. Radoniqi, Interviewers)

Sanaja, V. (2020, February 14). 01. (G. Karagjyzi, & L. Radoniqi, Interviewers)

Tagliabue, J. (1991, Qershor 28). Ygoslav Army Uses Force in Breakaway Repub-
lic; Slovenia Reports 100 Wounded or Killed. Retrieved Mars 14, 2020, from New


York Times:
UNMIK. (2000). Note on the appointment of Director of “Jusuf Gervalla” Cinema /
Theater. Peja.


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