The scope of this doctoral dissertation is to explore autoethnographic elements in audiovisual recordings of the Homeland War in the area of northern Dalmatia between 1991 and 1995. For the analysis of audiovisual records, the analysis of visual discourse was chosen, which pays more attention to the concept of discourse articulated through various types of visual images (as well as other types of expression). This work examines audiovisual recordings as personal experiences of war told through frames of emotions and memories, always immersed and inextricably linked to the socio-cultural and political context of the time. Autoethnographic elements therein are acknowledged in the motives and ways of presenting social reality, from which experiences and emotions of war can be discerned. Just as the "new ethnography" insisted on the author's visibility in the text, so the war brought with it various interpretations and reinterpretations of everyday life at wartime, thus creating fertile ground for autoethnographic research and voices, while encouraging creative processes such as capturing the reality of war. To talk about others and oneself through one's own experience of war was not only a need, but most authors also considered it their duty. It is precisely in the autoethnographic research that the researcher's personal experience in the process of learning about culture represents the starting point, which results in more lightness, greater depth and durability of such a research. Through an overview of the development of autoethnographic and autobiographical research it is evident that researching social reality through the researcher's personal experience as a starting point can be found in autoethnography and autobiography, correlated in terms of both research methods and genre. The concepts of collective and cultural memory are presented so as to highlight the diversity of thinking about and perceiving the importance of memory as a complex relationship between the experience of an individual and that of a community in the way they see and interpret their past. The development of visual technology has enabled the creation of visual records for more people. Both professionals and amateur cameramen have therefore been able to record their focus on their places of hurt, on landscapes, hardships of life at war, but also on their fears and on the expulsion from their own homes. In this work we see it also as creating new spaces and building new identities, but also as a visual presentation of oneself and of one’s community through creativeness and creativity. Most of the audiovisual materials of amateur cameramen encompassed by this work have been accessed via online platforms. For the purposes of this paper, audiovisual recordings from several sources were used: from private archives, from the Croatian Homeland War Memorial and Documentation Center, from various Internet platforms, from the Croatian Radiotelevision archives, the TV Vodice archives, the Croatian National University Library to the Croatian Film Association.