1
10
1
-
http://afzarhiv.org/files/original/e7c5d4999bc16d723b04a7f9e618533a.pdf
bc43d81746dbe3ecc94d8f3fb0e47d59
PDF Text
Text
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
From Partisans to Housewives: Representation of
Women in Yugoslav Cinema
Marijana Stojčić - Nađa Duhaček
Savez antifašista Srbije
Serbia
UDK: 305-055.2 : 791.43(497.1)
Prethodno priopćenje/Preliminary paper
Primljeno/Received: 06.07.2017.
Prihvaćeno/Accepted: 11.09.2017.
This paper will analyse ways in which representation of women
changed from partisans as revolutionary subjects to housewives and
consumers in the late 1960’s. This transformation is linked with sociopolitical changes in the Yugoslav context and the abandonment of women’s
emancipation as it was framed and adopted initially during and after
WWII. Namely, the partisan struggle for the liberation from Nazi
occupation, as well as the socialist revolution were two foundational myths
of Socialist Yugoslavia. Women played an active role in this struggle, both
as fighters and through their work behind the lines (as logistical support,
spying, nursing, etc.). Likewise, equality between men and women was an
important part the country’s official ideology. These narratives were later
memorialized through literature, cinema, music as well as comic books.
In our work, we will explore five tropes of femininity in Yugoslav
cinema: (1) the role of the partisan, (2) woman in the background, (3)
collaborator, (4) worker and (5) housewife, in order to map out ways in
which the representation of women between 1947 and the late 1960’s
corresponds to official emancipatory politics of the time and how these
tropes related with everyday life in this period. Finally, this will lead to an
analysis of cinema as a collection of stories Yugoslav women and men told
themselves (and others) about themselves.1 This approach has the potential
to indicate the antagonisms within the social context in which these films
were produced, by highlighting the unattained ideals of freedom and
emancipation. Simultaneously, the goal of this analysis is not to merely
open up another space for a more complex exploration of the past, but also
to reconsider the emancipatory potential this exploration offers us today.
1 Even though cinematography was considered a powerful tool of propaganda, which was most common during
the first decade following the end of the Second World War, storytelling was not relieved of state intervention.
This was done either through the removal of films that were considered to transgress from socialist moral or
through financing the filming of films that were considered to contribute to the upbringing of “new socialist man.”
69
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
Keywords: woman, gender, socialism, Yugoslavia, film, representation
Introduction
In this text, the ways in which representation of woman in Yugoslav
film up until the end of 1960s corresponds with, on the one side, ideological
frames of socialist Yugoslavia and its politics of emancipation; and on the other
side with social reality and social practices of Yugoslav society and its changes
in different time periods, will be analysed. In theory it relies on the tradition of
women studies and cultural studies. Cultural studies consider representations2
as a place on which, through interaction with the audience which adds its own
interpretation to the discourse, social relations, including gender relations are
established, regulated and normalized. In such way the existing social relations
in a specific social context start to become self-understanding and “natural”,
which leads to blurring of their connections with the social structure, and
the division of power inside the society. Gender regime is a fundamental part
of the structure of every society.3 It also implies certain ideal model types of
“manhood” and “womanhood” which are perceived as normal, natural and
desirable and in relation to which members of society interpret their own
gender experience. Gender regimes are not simply relations between men
and women, but systems of power, expectations, roles, behaviour, attitudes
and displays of gender differences between which a hierarchy is inscribed. It
regulates relations between men and women, forms individual expectations
and behaviours which are in unison with the social context. Gender is
produced, practiced and affirmed on the level of everyday life. Patriarchy as
well, as is defined by British sociologist Sylvia Walby, represents a system of
social structures and practices in which men dominate, oppress and exploit
women, whereby Walby emphasizes that patriarchy must be conceptualized
via different levels of abstraction. On the most abstract level, patriarchy exists
as a system of social relations, while on a less abstract level it encompasses
six basic dimensions regarding the way of production, paid work, state, male
violence, sexuality and cultural institutions.4 Cultural forms of patriarchy
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
and gender (in)equality also refer to their representation in media texts.
Construction of gender representations in a society most often reflects gender
structure of that society, at the same time constituting and reproducing gender
(in)equalities. Gender asymmetry in a patriarchal society, as a rule, positions
women in a place of passive subjects whose social role is covered by biological,
“natural” role. And representations of her are most often stereotypic images
of women, conveyed to her social status (repressed, accentuation of sexual
attractiveness, secondary position and role, motherhood, dependent position,
emotionality, frivolity). As Gofman notices, although representations are often
experienced as natural (which is why he uses the syntagm “doctrine of natural
expression”), the substance is that not only that they reflect gender differences,
but also constitute them through the very ability of persons to interpret, learn
and adopt those representations of masculinity and femininity.5 As films
are created in concrete social frameworks and are exposed to different social
influences, the assumption is that dominant social tendencies will inevitably,
more or less (un)consciously and (un)intentionally, diffract through film. In
that sense, films will be approached as forms of myths of contemporary society
who deal with “telling tales”, and are at the same time being “more than the
tales they tell”. 6 They represent symbolic constructions which offer a compass
for the social world and contain claims which people create about themselves
and others, about the ways in which they imagine themselves and others, the
ways they think and feel.7 At the same time, as Ana Banić Grubišić states,
in contemporary films are “key cultural contradictions being expressed, or
imaginary solutions to socio-cultural tensions being offered’”.8
The films that were chosen, as a starting point for the research, were the
films that were awarded in different categories at the Pula Film Festival. At the
beginning, the films that were not dealing with socialist present in Yugoslavia
or The Peoples’ Liberation Struggle (Narodno-oslobodilačka borba - NOB) were
excluded from the sample. More incisive film examples, such as illustration of
observed tendentious regularities were chosen as part of the second step with
conscious awareness that it carries a certain level of reduction. The illustrations
had to fulfill at least one of the two criteria (best if both were fulfilled): that the
film had received a social recognition and/or had high ratings. The analysis, in
the third step, was focused on the certain existing representations in the films
which corresponded with contradictions and changes that the society was
experiencing at the time. The focus of this analysis will be the ways in which
specific forms of film representation of gender correspond with the social
(ideological, political, cultural) context of socialist Yugoslavia in periods from
2 About representations as forms of selection and construction of meaning, see: Stuart HALL,
”,Representation, meaning, and language”, In: Representation: Cultural Representations and Signifying
Practices, (ed.) Stuart HALL, London: Sage Publications, 1997, 13-75.
3 Here, term gender regime is used in a sense of relatively structured relations between men and women, in
institutional and non-institutional environment, on the level of discourse and on the level of practices which
are materialized in different gender roles, different identities and different gender representations (including
different gender performance). Marina BLAGOJEVIĆ, “Žene i muškarci u Srbiji 1990-2000. Urodnjavanje cene
haosa”, in Srbija krajem milenijuma, razaranje društva, promene i svakodnevni život, (eds.) Silvano BOLČIĆ,
Anđelka MILIĆ, Beograd: Institut za sociološka istraživanja Filozofskog fakulteta u Beogradu, 2002, 311.
4 Sylvia Walby, Theorizing Patriarchy, Oxford: Blackwell, 1990, 20. This author also differentiates
between two basic forms of patriarchy, private and public, where the first refers to work in household and
is characterized by patriarchal strategy of exclusion and direct control, while the second form refers to the
domain of paid work and state, and is characterized by segregation and oppression. Ibid, 24, 178.
5 Erving GOFFMAN, Gender Advertisements, New York: Harper and Row Publishers, 1979, 8.
6 Hortense POWDERMAKER, Hollywood: The Dream Factory. An Anthropologist Looksat the Movie
Makers. London: Secker & Warburg, 1951, 3.
7 Louise KRASNIEWICZ, “Round up the Usual Suspects”: Anthropology goes to the Movies. Expedition
48 (1)/ 2006, 10.
8 Ana BANIĆ GRUBIŠIĆ, “Antropološki pristup medijima – kratak pregled (sa posebnim osvrtom na igrani
film)”, Antropologija 13 (2)/ 2013, 143.
70
71
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
1945 to 1952 and from 1952 to 1965. Darko Suvin names the 1945-1965 period
les vingt glorieuses (twenty glorious years) of Yugoslav history, during which
Yugoslavia records great progress from undeveloped agricultural to middle
developed industrial society, good international reputation and important step
toward the economic welfare of wide social strata, but also progress in direction
of achieving social justice and human emancipation.9 At the same time, this
is a period of considerable influence and great popularity of film, after which,
from the mid-1960s, that place is gradually taken over by television. Films
used as the basis of the analysis are those which deal with WWII in Yugoslavia
or the socialist present. It needs to be said that this analysis does not intend
to be comprehensive in its presentation of different levels, dimensions and
complexities of social processes (and interactions) which deal with the way in
which representations of women in Yugoslav film correspond with the changes
in socio-cultural context of Yugoslavia. It represents setting out of basis for
critical thinking on Yugoslav film heritage, which is today necessary not only
to establish a more complex look on the past but also because of emancipatory
potential which that rethinking can have.
One day it shall be wonderful...
War, Revolution, Restructuring and Reconstructing
It is important to keep in mind the complexity of a creation such as
Yugoslavia, which went through significant changes from its inception and
throughout its socialist history depending on social, political and economic
processes which did not merely take place within the Yugoslav context, but also
internationally. The founding myths of the new state were the war of liberation
from fascist occupiers and the socialist revolution. The socialist order, as it
was established after WWII, was based on equality, as well as brotherhood and
unity of the Yugoslav peoples10. The basis of the identity and the legitimacy of
the New Yugoslavia were sought in the kinship of the south Slavic peoples on
the one hand and the more-or-less autochthonous national movement for the
liberation of the country on the other. For Yugoslav communists, The Peoples’
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
Liberation Struggle (Narodno-oslobodilačka borba - NOB) legitimized and
provided a basis for the socialist revolution, while the Peoples’ Liberation Army
(Narodno-oslobodilačka vojska - NOV) and the Partisan Units of Yugoslavia
(Partizanski odredi Jugoslavije -POJ), were institutions which embodied the
ideal of brotherhood and unity.11 In addition to being the political leader
of NOB, the Communist Party of Yugoslavia, also played an active and
decisive role in shaping a new consciousness about the state, its character
and its historical significance. The identity of the new state was not only
promoted through official historiography and its “operationalized” version in
the form history textbooks, but also through popular culture. The dominant
narrative in post-war Yugoslavia brought the idea that the national (peoples’)
liberation war was fought by the partisan movement, which included men
and women of all nationalities (ethnic groups). The cohesion factor was the
heroic guerilla struggle against a more powerful occupiers from German,
Italy, Hungary and Bulgaria together with their local collaborators. Cinema
played an important role in this process from the very beginning, because of
its potential for communication and propaganda. Soon after liberation, each
republic founded a central film studio. This period from 1945 to 1950, also
known as the administrative period of centralized Soviet-style governance, was
marked by the founding of state-owned production company “Zvezda” (which
grew out of the propaganda department of the High Command of NOV, of
the Federative National Republic of Yugoslavia - FNRY, as it was called at
the time). During this period, a monumental film studio “Košutnjak” was
built in Belgrade, while the “Avala film” production company was founded
in Belgrade as well as “Jadran film” in Zagreb, “Triglav film” in Ljubljana,
“Vardar film” in Skopje and “Bosna film” in Sarajevo and “Lovćen film” in
Budva.12 The mission of these state-owned cinema production companies
was to document war-time destruction, crimes and trials against the enemy,
reconstruction of the country and feature films. During this stage, the studios
were staffed by personnel from NOB, while the cameras and other technology
came from reparations and the executives were high-ranking military or party
9 Darko Suvin, SAMO JEDNOM SE LJUBI. Radiografija SFR Jugoslavije, 1945.-72. Uz hipoteze o početku,
kraju i suštini, Beograd: Rosa Luxemburg Stiftung, 2014, 319.
10 According to Dejan Jović, the constitutive concept known as brotherhood and unity establishes the new
Yugoslav identity and bases it on two elements - ethnic kinship of South Slavic nations and the socialist social
order. Jović names a total of four different constitutive concepts which define different periods starting from
initial unification in 1918, until the definitive collapse in 1992: 1) The concept of national unity(narodno
jedinstvo); 2) The concept of contractual Yugoslavhood (sporazumsko jugoslovenstvo); 3) The concept of
brotherhood and unity (bratstvo i jedinstvo) and 4) The concept of unity of Yugoslav nations and nationalities
((zajedništvo jugoslovenskih naroda i narodnosti). The first two concepts belong to interwar Yugoslavia;
while the second two constitute social relations in socialist Yugoslavia. Based on this understanding, we can
make a distinction between the Third and the Fourth Yugoslavia. The Fourth refers to the period from 1974,
until the dissolution of the Alliance of Communists of Yugoslavia (Savez komunista Jugoslavije) in 1992. See
more, Dejan JOVIĆ, Jugoslavija- država koja je odumrla. Uspon, kriza i pad Četvrte Jugoslavije, Zagreb:
Prometej i Beograd: Samizdat B92, 2003, 103-154.
11 Mari-Žanin ČALIĆ, Istorija Jugoslavije u 20. veku, Beograd: Clio, 2013, 205-209.
12 Richard TAYLOR at al., The BFI Companion to Eastern European and Russian Cinema, London:
British Film Institute, 2008, 268. The development of Yugoslav cinema is most often described in relation to
production models, ie ways of financing films; administrative period (1947-1951), period of free film workers
(1952-1956), producer’s period (1957-1962), and finally a cinema that included the first works of the directors
of the so-called Black wave movement, followed by the works of the members of the so-called Czech film
school. On the other hand, Tomislav Šakić states that, regardless of the changes in production models, the
period from 1945 to the beginning of the 1960s in the poetic and aesthetic sense should have been considered
as a unique period which he calls “the classic period”, ie “the period of predominantly narrative style”. See:
Tomislav ŠAKIĆ, „Hrvatski film klasičnoga razdoblja: Ideologizirani filmski diskurz i modeli otklona“,
Hrvatski filmski ljetopis 38/ 2004, 6–34. According to Šakić’s changes in the aesthetic sense only started
taking place after 1961, when the first modernistic performances such as Dance in the Rain/ Ples v dežju
(Boštjan Hladnik, 1961), And Love Has Vanished / Dvoje (Aleksandar Saša Petrovic, 1961) or omnibus Drops,
Water, Warriors / Kapi, vode, ratnici appeared in the Yugoslav film (Marko Babac, Živojin Žika Pavlović,
Vojislav Kokan Rakonjac, 1962). See: Tomislav ŠAKIĆ, „Filmski svijet Veljka Bulajića: poprište susreta
kolektivnog i privatnog“, Hrvatski filmski ljetopis 57-58/ 2009, 14-16.
72
73
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
officials.13 These early films were technically modest and lacking in terms of
cinematic craft. The directors were war veterans, partisans, such as Vjekoslav
Afrić, Vojislav Voja Nanović, Vatroslav Mimica, Žorž Skrigin, Nikola Popović,
Radoš Novaković, Vicko Raspor and Stole Janković. Cinema historians Mira
and Antonjin Lim vividly described this phase of Yugoslav cinema “from
mountains to film studios.”14 Andrew Horton succinctly said that Yugoslav
national identity was similarly tied to war and cinema, while partisan films
(red western) as a genre played a similar role to western movies in American
cinema.15 Early partisan films share an essential characteristic with their (early)
western counterparts: narratives of national genesis. They served to “take a
group of settlers of various nationalities, languages, religions and ethics [...]
and create an integrated society, a new nation, a new order.”16 Yugoslav cinema
was a dominant part of the cultural production which supported and affirmed
the narrative of Yugoslavhood as a supranational phenomenon, achievable in a
new social order seeking to establish a classless society, communism. Women’s’
active role in this struggle, both as fighters and through their work behind the
lines (as logistical support, spying, nursing, etc.), was an important part of that
rhetoric, while, equality between men and women represented an important
part the country’s official ideology. As such, these narratives had their place in
Yugoslav cinema.
The context in which the Kingdom of Yugoslavia finds itself at the
beginning of WWII is best described as an industrially weak capitalist country
with an overwhelmingly agrarian economic structure. For example, in 1931,
76% of all economically active persons worked in agriculture, forestry or
fishing, while only 11% were involved in industrial or craft jobs.17 According
to the same census, 44,6 % of the population was illiterate, while this rate
was 56,4% among women over the age of 10, compared to 32% of illiterate
men.18 Most women live in rural areas where physical labour is combined with
reproductive work and various forms of violence.19 Although women’s lives were
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
vastly different depending on their ethnicity, religion and country in which they
lived prior to the creation of the new state, they shared a position of subjugation
in a legal20 and social21 sense. According to Jelena Petrović, this economic and
political inequality could be seen through “deprived political and civil rights
(the right to vote, to own property, to inherit, etc.), limited choice of profession
( teachers, lower ranking clerks in civil service - typists, telephone operators,
cashiers - professions which were available to only a small number of women,
or textile workers, workers in the tobacco industry and, of course, housewives),
exploitation (significantly lower wages compared to men doing the same jobs, as
well as the worst jobs, while simultaneously performing all the household work,
and difficult seasonal work in rural areas), ownership of women (ownership of
the father, then husband, especially in rural areas where 76% of population lives
according to the 1931 census), cultural and public exclusion of women (with
few exceptions, whose “femininity” in public space was tolerated as a handicap),
etc.”22 In spite of all of this, a number of women’s organizations and magazines
was active during the interwar period, ranging in ideological conviction, form
socialist to clero-fascist, and, for the most part, they worked legally.23
Women’s organizations stopped their work when WWII started, but
a significant number of women joined and actively participated in the armed
resistance, and through providing support behind the lines.24 Women’s Antifascist
Front (Antifašistički Front Žena - AFŽ) grew out of a network of women’s
organizations which were formed in most of the liberated territories and was
officially formed in 1942. Josip Broz Tito attended the first Congress of AFŽ
(from 5. to 7. of December), which is symbolically significant. He remarked
on the historical importance of the even for women’s struggle for equality and
emphasized women’s contribution to the liberation struggle: “ Everything that
is done by our army today is 90% the achievement of our heroic women of
Yugoslavia.” Also, he spoke of the goals of AFŽ, beyond winning against the
13 This is period of emphasized ideological control over film making. in Yugoslavia, official censorship
was introduced immediately after WWII, in 1945. The Official Gazette of (then) Democratic Federative
Yugoslavia (DFY) published a “Directive on censorship of cinematographic films.” Commissions were made
of party and state officials, and military and police officers. See more on this topic at Goran MILORADOVIĆ,
“Lica u tami. Društveni profil filmskih cenzora u Jugoslaviji 1945-1955”, Godišnjak za društvenu istoriju, XI
(2-3)/2004, 101-122. Also see, Goran MILORADOVIĆ, Lepota pod nadzorom : sovjetski kulturni uticaji u
Jugoslaviji : 1945-1955, Beograd: Institut za savremenu istoriju, 2012.
14 Antonjin LIM i Mira LIM, Najvažnija umetnost: Istočnoevropski film u dvadesetom veku, Beograd:
CLIO, 2006, 124.
15 Andrew Horton in Stephanie BARIC, „Yugoslav War Cinema: Shooting a Nation that No Longer Exists“,
MA thesis, Concordia University, Montreal, 2001, 33. http://spectrum.library.concordia.ca/1507/1/MQ64011.
pdf (20.5.2017).
16 Hrvoje TURKOVIĆ, Filmska opredjeljenja, Zagreb: Meandar, 1985, 140.
17 О privrednoj aktivnost žепа Jugoslavije od 1918. do 1953. according to Lydia SKELVICKY, Konji, žene,
ratovi, Zagreb: Druga - Ženska infoteka, 1996, 93.
18 For a detailed overview of population structure in the Kingdom of Yugoslavia, see Ibid, 93-96 i 103-107.
19 Regarding the position of women in the interwar period, see more, Vera ST. ERLICH, Jugoslavenska
porodica u transformaciji, studija u tristotine sela, Zagreb: Liber, 1971.
20 Kingdom of Yugoslavia throughout its existence never had a unified Civic code, there were six different
legal areas strongly influenced by official religious organizations instead, and those were, amongst other
things, determining laws regarding marriage, divorce and annulment of marriage. Women were given no
rights in any of these legal system, they were not recognized as legal subjects at all. The only exception was
criminal law, where it was recognized that women are capable of committing crimes and that they can be held
legally responsible for those same way the men could. SKELVICKY, Konji, žene, ratovi, 88, 90.
21 On status of women in the lands that entered Kingdom of Serbs, Croats and Slovenes (that became
Kingdom of Yugoslavia in 1929), see more, Neda BOŽINOVIĆ, Žensko pitanje u Srbiji u XIX i XX veku,
Beograd: Devedesetčetvrta: Žene u crnom, 1996, 91- 103.
22 Jelena PETROVIĆ, „Društveno-političke paradigme prvog talasa jugoslovenskih feminizama“,
ProFemina, 2/ 2011, 63.
23 Ibid, str. 59-80. Regarding the history of women organizing between the wars in Yugoslavia, also see,
BOŽINOVIć, Žensko pitanje u Srbiji u XIX i XX veku, 104-133; SKELVICKY, Konji, žene, ratovi, 79-81.
24 Quoting Jere Vodušek-Starič, Mari Žanin Čalić claims that PLA has 800 000 men and women under
arms. ČALIĆ, Istorija Jugoslavije u 20. veku, 207. During the war 305 000 fighters lost their lives, with
another 425 000 wounded. Ibid, 209. It has been estimated that there were over 100 000 female fighters in
Yugoslavia during WWII, 25 000 of whom got killed, 40 000 wounded, and 3 000 survived with some sort
of heavy disability. 90 women have been awarded with People’s Hero medal. Žena u privredi i društvu SFR
Jugoslavije, osnovni pokazatelji, Beograd: Savezni zavod za statistiku, 1975, 3.
74
75
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
occupiers, but as a struggle for the final liberation of women.25 Considering the
role of AFŽ, Lydia Sklevicky maintains that there were two large interconnected
groups of tasks. The first involved the people’s liberation movement in general,
such as providing aid to the army (gathering food, material goods, charity work,
etc.) and organizing life behind the lines, ensuring that normal life continued in
liberated territories, including social policies (such as care for the children, the
sick and the ill). The second group of tasks of AFŽ encompassed political and
cultural emancipation of women and their equal inclusion into the liberation
struggle and the reconstruction of postwar society.26 Even during the Fifth State
Congress of the Communist Party of Yugoslavia (Komunistička partija Jugoslavije
- KPJ) in 1940, two women were voted as members of the Central Committee,
Spasenija Babović and Vida Tomšič, who later went on to serve as presidents of
AFŽ. As Tomšič demanded in her speech, “all party organizations need to devote
utmost attention to working with women”, and these efforts should actively
include men.27 She repeated previous demands of women’s civil and workers’
movements, which had not been accomplished by this point, and added them
to the Communist Party program, “protection of motherhood, elimination
of duplicitous morality in public and private life, economic equality and the
right to vote.”28 Education was a particularly important condition for achieving
equality. According to Sklevicky “AFŽ directed many of their activities in that
direction, and we can see multiple levels at which this task was accomplished.
The basic level consisted of literacy courses and general education, which later
continued into political education - as upbringing for politics, while writing
for women’s magazines and propaganda to read it, signified a call to create a
new activist identity for women.29 AFŽ press played an important role in this
process. According to Gordana Stojaković, around 30 women’s magazines were
published from time to time between 1942 and 1945 within AFŽ and KPJ, in
parts of Yugoslavia where the people’s liberation movement (NOP) was active.30
25 „Drug Tito nama i o nama“, Žena danas, 31/ 1943. br. 3 according BOŽINOVIĆ, Žensko pitanje u Srbiji
u XIX i XX veku, 147.
26 SKELVICKY, Žene, konji, ratovi, 25-28.
27 Ljubinka ČIRIĆ-BOGETIĆ, „Odluke Pete zemaljske konferencije KPJ o radu među ženama i njihova realizacija u
periodu 1940-1941. godine“, in Peta zemaljska konferencija KPJ: zbornik radova, (eds.) Zlatko ČEPO, Ivan JELIĆ, Zagreb:
Institut za historiju radničkog pokreta Hrvatske: Školska knjiga, 1972, 94. http://www.znaci.net/00003/661.pdf (19. 5. 2017)
28 PETROVIĆ, „Društveno-političke paradigme prvog talasa jugoslovenskih feminizama”, 76.
29 SKELVICKY, Konji, žene, ratovi, 30.
30 Gordana STOJAKOVIĆ, Rodna perspektiva novina Antifašističkog fronta žena (1945-1953), Novi Sad: Zavod
za ravnopravnost polova, 2012, str. 37- 38. System of AFŽ press was based on the kind of hierarchy in which Žena
danas (Woman today) was a monthly issue which transmitted the axiomatic messages to the leaders of the middle and
lower class AFŽ boards, and all other papers would then, as per the matrix thus created, convey their vision of reality
on both macro (political plan) as well as micro (everyday life) level. At the same time, they were creating a whole
new reality based on those new roles that women were supposed to take on. Women being portrayed as active actors
in the transformation of social and political context in factories, on the fields, farmers unions but also in Peoples
Liberation Boards (narodno-oslobodilački odbori - NOO) where they partake in government is highly characteristic
for the post-war papers in 1946-1950 period. At the same time, role of women in care and nutrition economy, as well
as the role of a mother (whether it be to its own or adopted, war orphaned children) is still very important. Ibid, 169173. See also, Ksenija VIDMAR-HORVAT, Imaginarna majka – Rod i nacionalizam u kulturi 20. stoljeća, Zagreb:
Sandorf i Ljubljana: Znanstvena založba Filozofske fakultete Univerze v Ljubljani, 2017, 45-58.
76
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
Women’s Antifascist Front provided a channel for women to articulate their
demands for equality with men across all segments of society. For many women,
participation in antifascist resistance and the movement to liberate their country,
as well as participation in “organs of people’s government” („organi narodne
vlasti“) (where they had the right to vote and to be voted for, even during the
war) signaled they started to be politicized and to become political subjects.
In addition to the numerous tasks AFŽ took on in the post- war
rebuilding and construction of the state, their focus was on legislation which
would embody and ensure equality between women and men. Yugoslav women
took part in the election for a Constitutional parliament for the first time in
1945. Turnout for women was exceptionally high, which can be seen from
the report at the Third Congress of Yugoslav AFŽ, which stated that 88%
of women voted.31 The Constitution from 1946 affirmed equality between
women and men in spheres of social and political life. It is important to note
that this Constitution did not introduce a practice of equality between men
and women regarding voting rights, rather, these Constitutional principles
came out of a previously established practice. All the legislation that followed
strictly adhered to this principle.32 It was promoted as one of the central
principles on which the new state was to be based, and it reflected the radical
revolutionary attitudes that all inequalities based on class, nationality and
gender should be abolished. In addition to education, women’s economic
independence was seen as a key prerequisite for women’s emancipation.
Women and men were becoming equal, first and foremost, as members of
the working class. As Gordana Stojaković states, “Socialist ideology did not
consider women’s emancipation outside of its (working)class framework which
dictated the measure of women’s emancipation in relation to the sphere of
labor.33 Immediately after the war, due to the urgent need for construction and
rapid modernization, ingrained attitudes regarding women’s inferiority came
to be treated as a measure of political and social backwardness. This in turn
meant made the issue of women’s equality a political question whose solution
became necessary if society was going to transform in the new revolutionary
direction. At the same time, the so-called women’s issue, although insecure and
partial, possessed a singular and autonomous status through AFŽ . In this
31 “Politika”, 28. oktobar 1950. prema Vera GUDAC – DODIĆ, „Položaj žene u Srbiji (1945–2000)“, in Žene
i deca - Srbija u modernizacijskim procesima XIX i XX veka, (ed.) Latinka Perović, Beograd: Helsinški odbor
za ljudska prava u Srbiji, 2006, 35.
32 Through marriage law (1946) position of women and men in marriage has been made equal, and the family
law legislation introduced in 1947 made rights of children born out of wedlock the same as those of legitimate
children. Insurance against all risks has been introduced through legislation on social security, which included
paid maternity leave as well as pension rights which are same for both men and women (although women
would retire earlier). Law introduced in 1951 guaranteed the right to abortion. 1974 Constitution made sure
women are guaranteed a full right to free birth, and since 1977 there were no limitations on abortions within
first 10 weeks of pregnancy. Ibid, 33; BOŽINOVIĆ, Žensko pitanje u Srbiji u XIX i XX veku, 161-163.
33 Gordana STOJAKOVIĆ, „Antifašistički front žena Jugoslavije (AFŽ) 1946–1953: pogled kroz AFŽ
štampu“, u Rod i levica, (ed.) Lidija VASILJEVIĆ, Beograd: Ženski informaciono-dokumentacioni trening
centar (ŽINDOK), 2012, 13.
77
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
organization, women took charge of their own emancipation as active subjects
playing their part in building the new socialist society.
Films that were produced immediately after the war featured a
prototypical revolutionary female subjectivity whose key references were
women’s active participation in the armed struggle and their work behind
the lines. A good example can be found in the film Živjeće ovaj narod/ This
people Shall Live written by Branko Ćopić ad directed by Nikola Popović made
in 1947.34 The above mentioned revolutionary female subjectivity is clearly
located as exclusively proletarian and rural, while gender and class are also
closely intertwined. The story takes place in Bosanska krajina, under the
mountain Grmeč during an early uprising against German occupiers and the
Ustaša in 1941. Jagoda (Vera Ilić) , who happens to be a young Serbian peasant
women, falls in love with Ivan (Siniša Ravasi), a Croatian young partisan
Commissar and specialist in mining railways, who comes from a nearby town.
The opening of the film shows Jagoda speaking to a soldier of the Yugoslav
army which just capitulated, in order to hint to the audience that there is
still resistance. As she gives him water, she inquires why he is still carrying
rifles if the army capitulated, and his response is “Who else will defend you?
We will wage war again”. [“A ko će vas braniti? Mi ćemo tek ratovati.“] The
film follows the process of preparing for the uprising. which involves most
of the other peasants. A dialogue between Jagoda and her grandfather Ilija
(Fran Novaković) in which she asks “Grandpa, how does one overthrow the
state?”[„Đede, kako se ruši država?“] and he responds “Oh no, since when
do you care for the state?” [„Zar i ti vodiš brigu o državi, jadan sam ti ja?”]
early in the film indicates that she does not accept limitations based on gender
which would keep women out of politics and major historical events such as
the war. Similarly, in the scene where her grandfather asks her about dressing
up nicely, Jagoda replies “I am going to the Committee. I will drive food
to the army” [„Idem do odbora. Voziću hranu vojsci.“] and Ilija maintains
“You? What is woman doing with the army?” [„Ama, zar ti? Šta ima žensko s
vojskom?“]. The grandmother (Milica-Carka Jovanović) who is baking bread,
joins the conversation, “Oh, my crazy granddaughter, they’re shooting there.
You might pay with your life” [„E, moja luda unuko, pa tamo se puca. Možeš
glavom platiti“] and adds that it would be better if her younger brother (a boy)
went than “her, lass!” [„nego ona, curetina!“]. Another way in which Jagoda
steps out of her traditional patriarchal role is her thirst for knowledge. After
she finds out that the recently liberated older men is a university professor and
scholar, she asks him to teach her to read. In return, she offers to mend and
wash his clothes, which allows her to establish a relationship based on equality
and exchange, rather than a relation in which she is begging for charity. Later
in the film, the teacher gives a speech on the occasion of the end of the literacy
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
34 For more detailed analysis of this film, see, Nebojša JOVANOVIĆ, „Gender and Sexuality in the Classical
Yugoslav Cinema, 1947-1962“, PhD dissertation, Central European University Department of Gender Studies
Budapest, 2014, 94-99.
course, and we see an audience full of women with joy on their faces. There is a
wide range of female characters, from more traditional women (usually older)
to younger women who are becoming emancipated and politicized through
their involvement in the struggle. Jagoda is the symbolic representation of
women’s emancipation as a herald of the present and the future. Another
reason why we chose this film (instead of for example, Slavica by Vjekoslav
Afrić, made in the same year) is the representation of women as a collective,
peasant women as a revolutionary force, whose capacity for enacting change
comes from their oppressed position in a rural patriarchal context. Women
are the ones who cross ethnic boundaries. During a village meeting, one of
the peasants (man) expresses doubts that Ivan is probably ustaša, but Jagoda,
who is already falling in love with him, is not the only one to defend him.
Other women rebel against this assumption, and they do so as a group. Their
involvement and contribution to the whole struggle is more heart-felt that men,
who let their habitual ethnic distrust and dispiritedness guide their doubts.
Women’s massive involvement in the rebellion can be seen in a series of scenes,
in which the peasant organize to transport wheat to the partisans. A village
meeting where peasants (men and women) discuss this, precedes these scenes.
The men, both peasants and the partisans in the mountains, express doubt
about the feasibility of this endeavour, because there is a blizzard and “neither
the sled, nor the horses can pass across the mountain” [“ni saonice, ni konji ne
mogu prijeći preko planine”]. Jagoda is the first to react: “Neither the sled, nor
the horses, but a person can! We will break through to Drvar!” [“Ni saonice,
ni konji, ali može čovjek! Mi ćemo se probiti do Drvara!”]. She is immediately
joined by other women. And what follows is a memorable scene. A long scene
depicting the blizzard, in which we see dark skirts in the wind against the
backdrop of the white snow in the storm, as the women walk in line and carry
the wheat. The other memorable scene is the battle against Germans. Peasants
join the partisans in battle, and women are on the frontlines again, at first with
agricultural tools, and then, as they progress, they take weapons from dead
soldiers. These images combine the representation of the nation in rebellion
and the revolutionary femininity. It is abundantly clear after the battle, that
victory was not possible without the women.
Later films very rarely depict women as a collective revolutionary
subject, but still, the trope of the individual partisan/female fighter persists
in the representation of women in NOB. At this point, it is important to
differentiate between the first phase of partisan films (1947-1960), which is
dominated by narratives about the beginning of the revolution and relatively
modest tasks. While the second phase (1960-1990) of partisan films already
represents a genre in its own right, and the narratives are larger-than-life
mythologies about spectacular battles and impressive action scenes. Women
remain in these narratives, as partisans and fighters, which later contributes
as a factor of their emancipation. This kind of adventurous crossing of
boundaries only serves to further show social mobility and a release from
78
79
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
patriarchal shekels.35 This trope is most clearly seen in films depicting
military offensives, which is a sub-genre of partisan films. In other words, “the
seven largest military operations of the German army and its collaborators
against Yugoslav partisans during World War II”36 were made into epic films
which took a significant place in the official ideological discourse of Yugoslav
socialism. Also, these were state projects which took up considerable material
and human resources.37 According to Nemanja Zvijer, over time, narrating
the seven offensives38 became a “significant place of memory and one of the
important segments through which the complexity of WWII in Yugoslavia
could be reduced and simplified.”39
In this text, we are briefly going to consider the character of Danica
(Sylvia Koscina) from the partisan spectacle Battle on the Neretva / Bitka na
Neretvi (1969), directed by Veljko Bulajić, which according to Zvijer, can be
seen as “an blatant example of film-making practice of war spectacle in socialist
Yugoslavia.”40 The movie portrays a series of military operations aimed at
destroying partisan forces which were undertaken by German, Italian, Ustaša
and Četnik armed forces in the beginning of 1943 throughout the territory
of today’s Bosnia and Herzegovina. Socialist historiography named this The
Fourth Enemy Offensive or The Battle for the Wounded because the partisan
army retreated with around 4000 wounded and sick (mainly from typhoid).
As in many other films (especially filmed offensives), the main character is
the collective, in other words, the partisan army. Various fictional characters
and their personal dramatic stories are combined into a mosaic which serves
to paint the true hero, the multiethnic multitude which is fighting for their
freedom and their future. The partisan army, which includes the typhoid
sufferers and refugees, actually constitutes the image of “nation in rebellion.”
This army is made up of both men and women. In the film, one can see women
in traditional roles, as peasant-women carrying their children as they flee,
also as nurses and doctors, but more importantly in new roles as uniformed
and armed fighters, taking an active role in the struggle. This comes across
most expressively in one of the first images in the beginning of the film,
when Danica is taking a picture with her brothers Novak (Ljubiša Samardžić)
and Vuk (Radko Polič). All three of them are wearing uniforms. Another
memorable scene takes place during a particularly strong attack from German,
35 Comp. Renata JAMBREŠIĆ KIRIN, ”Moderne vestalke u kulturi pamćenja Drugog svjetskog rata”, in
Dom i svijet, (ed.) Sandra PRLENDA, Zagreb: Centar za ženske studije, 2008, 27.
36 Nemanja ZVIJER, „Koncept neprijatelja u filmovanim ofanzivama – Prilog sociološkoj analizi filma”,
Sociološki pregled, XLIV (3)/ 2010, 419.
37 Ibid, 421.
38 The offensives were made into films in the following order: Kozara (1962), Raid on Drvar / Desant na
Drvar (1963), The Battle on the Neretva / Bitka na Neretvi (1969), Sutjeska (1973), The Republic of Užice /
Užička Republika (1974), The Fall of Italy / Pad Italije (1981) and The March on Igman / Igmanski marš (1983).
39 ZVIJER, „Koncept neprijatelja u filmovanim ofanzivama”, 421 i dalje;
40 Nemanja ZVIJER, „Ideologija i vrednosti u jugoslovenskom ratnom spektaklu: prilog sociološkoj analizi
filma na primeru Bitke na Neretvi Veljka Bulajića“, in Hrvatski filmski ljetopis 57-58/ 2009, 27. For more
detailed analysis of this film, Ibid, 27-40.
80
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
Italian, Ustaša and Četnik forces. The sound of the song “Fall, oh force and
injustice” [Padaj silo i nepravdo] is mixed with the sound of artillery canon
fire and the sound of Church bells, until the sounds become indistinguishable.
With this sound, we see images of partisans and wounded, intertwined with
fight scenes against an overwhelmingly more powerful enemy. Danica is on
the front line in the battle. We want to draw attention to her face, and to the
tears running down her cheeks as she shoots from the machine gun. A second
later, we see her charge into battle and shout “Charge!” Having in mind that
tears are traditionally associated with weakness which is a constitutive part of
stereotypical femininity, it is possible to read this scene as a hint at overcoming
the traditional hierarchical male/female and strength/weakness dichotomy.
Although there are multiple ways to read this, cinematic representations
of femininity in WWII offer a contrast the partisan woman as an embodiment
of the female revolutionary subject on the one hand, and the decadent femininity
which is often directly linked with female collaborators.41 In this context gender
is closely linked to class. The film Abeceda straha / Alphabet of Fear (1961),
directed by Fadil Hadžić is a good example. It follows one episode in the life of
partisan undercover operative Vera (Vesna Bojanić), who poses as Katica and
gets a job as maid in the household of the banker Molnar (Josip Zappalorto),
a high ranking sympathizer of the Ustaša government in Zagreb in 1943.
Vera/Katica’s job is to get a list of planted Ustaša informants. Alphabet of fear
continues a trend of urban guerrilla movies, which begin with Don’t Look Back,
My Son / Ne okreći se sine (1956), directed by Branko Bauer. As a character, Vera
represents an emancipated young woman who participates in planning and
carrying out actions equally with her male comrades. This film is interesting
because the number of female and male characters is almost equal (thirteen male
compared to ten female characters). Additionally, the (“bourgeois”) women are
portrayed more negatively than Molnar, even though he is an Ustaša officer
who actively collaborates with the Ustaša for ten years, as the movie reveals.
Molnar lives with his wife and two daughters, the younger one being fifteen.
Throughout the whole film, a clear contrast is drawn between Vera and the
other female characters, and it is constituted on (at least) two levels: concerning
gender and concerning class. The world of the bourgeois wife is delineated by
marriage as a business agreement. She organizes social occasions that can help
her husband’s career, she chooses dresses, spends time with other wives, in trivial
conversation (usually about other men) and gossip. The representation of the
bourgeois woman corresponds with the traditional negative female stereotypes.
This representation includes superficiality, selfishness, focus on fulfilling their
own desires, lack of political consciousness and moral considerations and an
inability to understand a larger picture.42 In this sense, their collaboration can
be understood as a consequence of a lack of intellectual and moral capacity. An
41 See more JOVANOVIĆ, „Gender and Sexuality in the Classical Yugoslav Cinema, 1947-1962“,100- 108.
42 At one point, Molnar describes his wife by saying the way “she gossips is a form of political work” [„da
se bavi tračem kao jedinim političkim radom“].
81
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
example of this can be seen in Mrs. Molnar’s (Nada Kasapić) tea party, which
she organizes for the wives of the other Ustaša officers. One of the guests asks
about news, and then begins by her own “You should see the Jewish set that I
have received” [„Imaš li šta novo? Da vidiš kakvu sam ja židovsku garnituru
dobila“] and then continues with a mixture of gossip about sexual adventures
of one of the husbands, mocking, discussing servants and information about
an absent friends who is “higher up now”[“sada visoko odskočila”] because
“her Victor just burned fifty villages and became an important person over
night”[“njen Viktor je zapalio pedeset sela i preko noći postao velika ličnost”].
This does not imply anything about the nature of femininity, but rather only
about socially constructed pressures of bourgeois society in which these women
were socialized. The best example for this is the representation of Saša (Jasenka
Kodrnja), Molnar’s younger daughter. Unlike Elza (Tatjana Beljakova), the
elder daughter, whom we see in an Ustaša uniform as she is getting ready for
work one morning, Saša is still young, spoiled and has not had a chance to
be corrupted. As she speaks to Katica/Vera, she mentions she would like to
meet partisans, because “there are young women among them” [“kažu da ima
i devojaka među njima”]. Although her daydreams revolve around love and
young men, she shows a curiosity about the world and issues outside the narrow
life of her family, her social circle and a fate that is intended for her.
Here it should be kept in mind that the idea of woman´s economic
independence, as the primary condition of her emancipation, is in the basis
of the socialist ideology of women’s emancipation; therefore the question of
change of women´s position was primarily linked with the women´s already
implemented right to work. After the war, this did not simply emanate from
the ideology of the newly established government, but also from the need to
engage as many people as possible in the restoration of the war-torn country,
and later from the ambitious demands of the five-year plan´s realization.
Hence the state´s and AFŽ´s efforts to employ as many women as possible and
integrate them into different economic activities, including those in which, in
pre-war Yugoslavia, only or mainly men had been employed. The time period
immediately after the war is defined by intense social restructuring and the
struggle for the meanings of the new social (and gender) order, whereas the war
heroism was replaced by work heroism. Socialism needed to be stabilized and
a destroyed country rebuilt. Almost 400 000 people were left homeless and
the damage was measured to around 2,3 billion US dollars. The first period
which in economic terms represented a period of centralized administrative
government (1945-1952), was marked by a complex system of savings measures
(coupons for consumption rationing) and planned production (first five year
plan 1947-1951). Right after the war, UN and the United Nations Relief and
Rehabilitation Administration (UNRRA) donated 416 million worth of
goods (mainly food) to Yugoslavia.43 For women in the first decade of post-
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
war restoration of society the place among workers-udarniks/shock workers
was reserved, and they needed to participate on the same level as men in every
form of collective activity. On the one hand poverty and rationing additionally
motivated women to compete for the status of udarnik/shock worker in order
to secure additional food, clothes and textile coupons44; on the other hand the
intense agitation of AFŽ, primarily through the press, worked on construing a
woman-worker as a key protagonist in the successful realization of the socialist
project. The struggle did not only signify the struggle for emancipation but
also the struggle for implementation of the five year plan (from 1947 to 1951).
Women were mobilized on several levels: through work actions, analphabetic
courses, as well as tailoring and sewing courses, as workers and udarniks, but
were all the while also expected to take care of the household. State politics
used the New woman as a symbolic bearer of modernization45, and women’s
visibility in socio-cultural sphere of the new state should have marked the
accomplished progress in this new reality. As Ksenija Vidmar-Horvat states,
for understanding complex socialist gender politics and the definition of
woman´s role in socialism three basic fields of establishment of woman´s
position are important: work domain, marital-family life, and in relation to
children. And the socialist project called for a radical shift from bourgeois
oppression of women on all three fields.46 Vladimir Pogačić´s film “Priča o
fabrici” (The Factory Story) shows that this was not a simple task.47 The story
is set in a textile factory in Zagreb shortly after the liberation of the country.
The problems which the factory faces include not only deficiency, difficulties
in production, work with the machines and procurement of materials, but
also the plan of its former pre-war owner Gartner (Tito Stroci) to sabotage the
factory. Two parallel strands shape the narrative. One follows the dilemmas
of the engineer Branimir Vrtar (Strahinja Petrović) whom Gartner plans to
draw in in his sabotage plans, which meets the approval of Vrtar´s wife who
cannot reconcile with their losing of pre-war privileges. The protagonist of
the other strand of the story is Marija Mlinarić (Marija Crnobori), a textile
worker, who wants to solve the production problems by showing that one
female worker can work on six machines simultaneously. The one thing in
common is the unhappy marriages of the two protagonists. Vrtar´s wife,
a glamorous beauty, cannot find a way to make peace with losing pre-war
privileges and therefore pressures Branimir to take part in the sabotage of
43 Igor DUDA, ”Uhodavanje socijalizma”,Refleksije vremena 1945. – 1955. 10–40. Zagreb: Galerija
Klovićevi dvori, 2013, 25.
44 Coupons r1 and r2 for workers and coupon 0 for all others, while peasants had no right to coupons. Also,
r1 coupons could have been used in different stores in relation to r2 coupons. Renata JAMBREŠIĆ KIRIN,
”Žene u formativnom socijalizmu”, Refleksije vremena 1945. – 1955. (ed.) Jasmina Bavoljak, Zagreb: Galerija
Klovićevi dvori, 2012, 193.
45 Comp. JAMBREŠIČ-KIRIN, ”Moderne vestalke u kulturi pamćenja Drugog svjetskog rata”, 19-54.
46 VIDMAR HORVAT, Imaginarna majka – Rod i nacionalizam u kulturi 20. stoljeća, 46. On the politics
of representation of motherhood in socialism, see: ibid, 46-67 . On the politics of motherhood, see: Rada
DREZGIĆ, “Bela kuga“ među “Srbima“. O naciji, rodu i rađanju na prelazu vekova, Beograd: Albatros Plus:
Institut za filozofiju i društvenu teoriju, 2010, 17-51.
47 For a more detailed anayisis, see: JOVANOVIĆ, “Gender and Sexuality in the Classical Yugoslav
Cinema, 1947-1962“, 138-141.
82
83
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
the factory. On the other side, Marija’s marital problems are in connection to
the refusal of her husband Ferd (Branko Pleša), a model worker himself, to
accept Marija’s dedication to work. During her testimony at the Gartner´s and
his accomplices´ trial about the circumstances which preceded the sabotage,
she starts to talk about Ferd’s behaviour. On the reaction of one of the jurors
that Marija is disclosing details of her personal life “which have nothing to do
with the subject of the trial” [koji nemaju veze sa predmetom rasprave] Marija
replies: “Private life? Do you really think that life can be divided?“ [“Privatni
život? Zar vi zbilja mislite da se život može dijeliti?”]. In one of the scenes we
are shown how Ferd accuses her of neglecting the marriage in order to work.
While she is doing the laundry, in his complaints the anger (“I’ve had enough
of your conferences, your jobs outside the house. Do I have a wife?...Is this
a home? Is this a marriage?” [“Meni je već preko glave tvojih konferencija,
tvojih poslova izvan kuće. Imam li ja ženu? ... Zar je ovo kuća? Zar je ovo
brak?”]) and pleas (”Am I a bad worker? But who can demand from me to
renounce everything? Listen, for my love, you are going to leave those damned
six machines” [“Zar sam ja loš radnik? Ali tko može od mene zahtjevati da
se odreknem baš svega? Slušaj, meni za ljubav, ti ćeš ostaviti tih prokletih šest
strojeva”]) take turns. We are here able to see directly the conflict between
revolutionary emancipation and patriarchal woman’s gender role. Through the
expectation that woman’s primary responsibility lies in the private domain,
marriage and family, patriarchy survives the revolution. Woman’s exit from
the private domain (which traditionally belongs to women) into the public
domain, the possibility to work and economic independence are not enough
for a complete transformation of woman’s position – the patriarchal order
continues to live in the private and family domain.48
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
broke traditional stereotypes of how woman should look and behave with
their endeavours in industry and restoration of the country.49On the other
side, the split-up with Soviet Union, made the management of the country
turn for help (loans and commerce) to their ideological counterparts – the
capitalist West.50An adequate model, which was far enough from the countries
of the so called real socialism but also not threatening for the reputation in
international workers movement, was needed. The new identity of the state
was developing on the idea of diversity, the search for the “third way” in regard
to SSSR and the Soviet bloc, and to pre-war Yugoslavia and liberal democracy
in general (where liberal democracy and capitalism were used as synonyms).
On the international plane, the specifics of that Yugoslav “third way” built
in conditions of bloc division, were manifested through the Non-Aligned
Movement51, on the interior plane it was manifested through the invention of
socialist self-management (as a counterpoint to state planned economy of the
countries of the East, but also to the free market of the West).52At the beginning
of the 1950 the government had already tested the first self-managing units in
production, and in the summer of the same year came the first confirmation of
the foreign help. It seemed as the situation had normalized. Mass mobilizations
were switched for the gradual introduction of self-management units from the
start of the 1950s.53The state started the process of decentralization on all
levels, first in the economy, and then in the whole society. Companies were
managed by workers councils, although in practice in the most part, especially
in the beginning, only notionally. The main decisions on companies business
conduct were still made by the state.54Parallel with the growing independence
of economic organizations as the bearers of economic growth, the autonomy
48 Although it factually marks the end of her marriage, Marija chooses work. The end of the film is also very
interesting. Instead of exhausted from work and sadness as we see her in the most part of the film, Marija is
represented in a new dress and exudes freshness and optimism. To be without a man does not automatically
mean to be miserable.
49 GUDAC-DODIĆ, “Položaj žene u Srbiji (1945–2000)“, 60.
50 About the relations with the USA and the Soviet Union in 1948-1963 period, see: Tvrtko JAKOVINA,
Socijalizam na američkoj pšenici: (1948-1963), Zagreb: Matica hrvatska, 2002.
51 During the meeting of Tito, Egyptian president Nasser and India’s prime-minister Nehru in Brioni in
1956, the draft was made of what is to become the official declaration of the Non-Aligned Movement after the
Belgrade conference in 1961. The declaration states: condemnation of the bloc division of the world, complete
removal of the causes of wars, support for the disarmament, need for nuclear energy used for peaceful
purposes, economic help for underdeveloped countries and mutual cooperation. Ibid, 121-124.
52 Todor Kuljić has succinctly formulated in an interview: “The whole Yugoslav ideology of selfmanagement was a sort of a “third way“, which Yugoslav socialist officials always highlighted. It wasn’t
planned socialism, but also not capitalism. We are somewhere in-between these opposites; we do not represent
the extremes; we are the real self-managing democracy. Exactly this ideology of the “third way“ enabled very
flexible foreign policy, which was useful to the eastern and the western bloc.“ Todor KULJIĆ, “Jugoslovensko
radničko samoupravljanje”, 2003, http://eipcp.net/transversal/0805/kuljic/sr (30.05. 2017).
53 First, in June 1950 with the enactment of the “Basic law on the management of the state companies and
higher business associations by the working collectives“, which was later confirmed by the “Constitutional
law on the basis of social and political organization of the Federal People’s Republic of Yugoslavia and
federal authorities“ from January 1953. In his speech in the Parliament on the occasion of the enactment
of the “Self-management law“, Josip Broz Tito highlighted three key moments in future development of
Yugoslavia: process of “withering away of the state“, distancing of the Party (KPJ) from the state apparatus
and transformation of state into social property, which will be governed by the direct manufacturers. Dušan
BILANDŽIĆ, Hrvatska moderna povijest, Zagreb: Golden marketing, 1999, 321-334.
54 The “Law on planned managment of national economy“ was adopted already in 1951. Ibid, 327.
84
85
Do you really think that life can be divided?…
The Big Turn Over
The event which, in the long run, has set the course of development of
Yugoslavia and announced a radical transformation of all spheres of Yugoslav
society is the conflict with the Cominform in 1948. It was one of the hardest
periods in the socialist history of Yugoslavia. Economic blockade in the East,
strong political pressure from the Soviet Union and the countries of the socialist
bloc, the danger of the occupation of Yugoslavia, made the government reach
for mass mobilizations and employment of all available hands. This kind
of government initiative was supported by the official press, which in that
period especially highlighted the role of female udarniks and women who
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
of the local authorities as the bearers of social growth was strengthened.55
Socialist democracy was in the case of Yugoslavia first of all understood
as economic democracy based on national equality and social parity. The
personal contribution to the development of the country, the ability to govern
the process of production, and thereby the process of social modernization
meant to be an actor, autonomous subject of your own development. The
role of the worker was central to the construction of the “cosmopolitan,
international, modern and supranational identity of the citizen of Yugoslavia
in the time of socialism”56.When it comes to women’s socialist ideology, it did
not contemplate emancipation of the women outside the work system (working
class). As Ksenija Vidmar-Horvat states, as “friends” they were an integral
part of the proletariat and it was considered that they have no other special
rights which would be separate from the rights and demands of the working
class. Gender discourse in SFRY was mainly focused on the role of women
in national industry, while in the aspect of private and family life (marriage,
motherhood, and gender roles) the traditional model was considerably kept.
In the socialist model an attempt was made on harmonization and integration
of working functions and functions which women perform in the private
domain, with the emphasis on motherhood. Although the state had introduced
measures which should have facilitated women in connecting public (the
domain of work and political engagement) and private (primarily linked to
motherhood, like paid maternal leave, almost free kindergarten, hot meals for
children in school etc.57) domains, the attitude that women as a social group
were not different from men prevailed.58 “Self-cancellation” of the Women’s
Antifascist Front in 195359 also marks the abolition of the independence of the
55 Regarding this the most important was “The Law on people’s committee’s“, which was adopted in 1952.
Ibid, 334-339.
56 Tanja PETROVIĆ, Yuropa – Jugoslovensko nasleđe i politike budućnosti u postjugoslovenskim
društvima, Beograd: Fabrika knjiga, 2012, 158 (u fusnoti).
57 According to the Regulation on the protection of employed pregnant women and breastfeeding mothers,
the 90 day maternal leave was predicted, and in some cases shorter, four hour work day was provided, until the
child was three years of age. For the employed breastfeeding mothers interruption of work in every three hours
was provided, due to feeding of the child, and that right was available until sixth month after the birth. During
the maternal leave full cash compensation was provided. Mothers (single parent or those whose children
needed additional care) who worked shorter, four hours shifts after the cessation of that leave, had a right to
monthly pay in amount of 75% of the income. In later stages of social development, in Yugoslavia the duration
of paid maternal leave was extended on several occasions, until the child was one year old. GUDAC-DODIĆ,
“Položaj žene u Srbiji (1945-2000)“, 37.
58 VIDMAR HORVAT, Imaginarna majka – Rod i nacionalizam u kulturi 20. stoljeća, 47-49.
59 Women’s Antifascist Front (AFŽ), as a separate women’s organisation was abolished on the IV congress
in 1953. Different organisations and associations which dealt with the questions of interest to women united
in the Alliance of women’s associations of Yugoslavia, from which the Conference for social activity of
women of Yugoslavia arose (established in Zagreb in 1961.). It acted within SSRNJ – Alliance of socialist
working people of Yugoslavia (Savez socijalističkog radnog naroda Jugoslavije). Neda Božinović, former
partisan (bearer of the Commemorative Medal of the Partisans of 1941.) and active member of AFŽ after
the war, states that “conclusion on abolition of AFŽ, and on the establishment of Alliance of women’s
associations, was experienced as degradation of women’s organisations and women themselves by a great
number of delegates. And many AFŽ activists stopped working as a response“. BOŽINOVIĆ, Žensko pitanje
u Srbiji u XIX i XX veku, 174.
86
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
so called women’s question, the way to the gradual return of the women to the
household, political passivation for a great number of women60 and an end to
the intense interest for the change of gender relations in the family and society.
The women’s question from that point on is treated as integral part of the class
question, which is presented as a key social problem on which all others can be
reduced to. Somewhat simplified, starting from the viewpoint that the essence
of the social injustice is in the unfair economic distribution (and its typical
example is class inequality), the solution to the class question is simultaneously
the solution to the “women’s question.” A little differently formulated: “Starting
from the Marxist standpoint that women’s liberation can be achieved only on
the realization of the ‘association of the free manufacturers’, women’s question
is a component of the class question”. As the class question in Yugoslavia had
been considered as solved, it was possible to claim “that the woman today is
actually and formally equal in our society”.61
In general, the period from the year 1950 to the year 1970 is the period
of economic prosperity and growth of the standard of living in SFRY; and
from the 1960s the period of opening of the borders and total liberalization
of the society. Specifics of the Yugoslav “third way” after the conflict with
Stalin in 1948, in first line partial democracy (institutionalised in the form
of “self-managing socialism”), a relatively wide space for creative freedom in
arts and sciences62 and relative openness of the country to the West (which
secured continual circulation of goods, people and ideas), painted one
peculiar landscape. The period from 1953 and especially from 1957 to 1961
was marked by high rate of industrial and agricultural production and the
rise of the number of people employed, with strong transfer of people from
agricultural to non-agricultural sector and mass migrations to the cities.
Not equally fast, but in those years the standard of living also rises, first of
all because of significantly larger total production, the rise of the national
income, larger employment and productivity of work, the rise of net personal
incomes in the social economic sector, real purchasing power of the population
and available consumer goods. A significant change in structure of personal
consumption occurred, in food, clothing, habitation, education, satisfaction of
cultural and health needs, improvement of social security and others. Changes
were moving in the direction of a reduction of costs of nutrition, and a rise
of costs of industrial consumer goods and other services. Lowering of the
60 Participation of women in the decision-making bodies constantly diminished from the end of the war. In
the year 1949/50 in elections for national committees there were two thirds more women than in the elections
two years later. Already in 1963 in the Federal Parliament percentage of women was only 15,2. Six years later
the number fell to 6,3%. Žena u privredi i društvu SFR Jugoslavije, osnovni pokazatelji, 4; BOŽINOVIĆ,
Žensko pitanje u Srbiji u 19 i 20 veku, 249.
61 Vjekoslav KOPRIVNJAK, “Uvodnik u temat“, Žena, 4–5/ 1980, 10.
62 Under the assumption that some central system and ideological categories are not to be questioned,
like: general historically progressive character of socialism in relation to capitalism, personality and work
of Josip Broz Tito, one party system and absolutely positive role of the partisan movement during the
Second World War. Mladen LAZIĆ, Promenei otpori - Srbija u transformacijskim procesima, Beograd:
Filip Višnjić, 2005, 66-70.
87
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
nutrition costs is the basic reason for the raising of costs for other purposes
which are the characteristics of the structure of personal consumption of a
higher standard.63Because of the economic model of self-management which
in itself contained elements of capitalism (autonomy of the company) and
of ethatism (centralized planning), Yugoslavia did not only get out of the
crisis but also entered the most prosperous period of its existence. The 1950s
were also a period of intensive social transformation from the imperative of
production towards the imperative of consumption64, and the transformation
of Yugoslavia to a consumerist society with the elements of a market economy.
Social values in Yugoslavia became increasingly determined by purchasing
power and material property, and new and modern became the goals to strive
for. The trend of growth of citizens’ purchasing power from the 1950s on,
and with it of total quality of life was followed by a growing belief that it is
a need of the modern times, but also a human’s right.65Except for opening to
the economic influences from the West, the split-up with Stalin and the East
bloc lead to the increasing openness to the cultural influences and products of
western popular culture (like film, magazines, literature, music and fashion)
which often promoted values different from those of the socialism. Janjetović
visually describes this change as jumping “out of Stalin’s overcoat into Elvis’s
jacket“ [“iz Staljinovog šinjela u Elvisovu jaknu”], and explains: “The split
with the Soviet Union and a gradual closeness to the West, in connection
with the economic success during the 1950s, finally made conditions for
popular culture to not only develop but gradually gain its independence as
an autonomous cultural segment which, as time passed by, had less and less
in common with the official cultural politic and more with the free market of
entertainment – still remaining in one part tied to the social system and its
values“.66 According to the same author, a big role in spreading the influence
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
of popular culture was (in particular) by the entertainment press whose
content looked increasingly like the content of the western press.67 From the
early 1950s comic books with American heroes are being published, while
in the 1960s titles from popular literature, like westerns, love, crime and
detective novels had huge circulation.68. Practically everything from the US
literal and fine art scene, including works of top contemporary authors and
artists were also available for the people of Yugoslavia. During the 1950s so
called popular music is being developed, and jazz, not long ago considered “a
product of degeneration of USA bourgeois culture” and according to Maksim
Gorki “music of the greasy and fat capitalists”, also arrives.69 And at the end
of the decade also rock’n’roll.70 Radio broadcasts of western music (from
the beginning of the 1960s also rock’n’roll), and the production of records
grows, and gramophone houses like RTB and Jugoton are publishing foreign
musicians’ hits (singers and bands). A domestic music scene is being developed,
first through the covers of foreign hits and later through original works. The
development of television71 in the 1960s, when due to weak technical and
insufficient personnel the lack of content was compensated with live Italian
programs and transmission of entertainment and revue TV shows (like San
Remo music festival), introduced pictures of abundance and glamour in
growing number of homes across the country and served for copying of music
and fashion styles. Frames of new consumerist ambient, and new consumerist
imaginarium, are drawn by openings of supermarkets, organizations of fairs
in which goods of wide consumption were being presented (wash machines,
refrigerators, TVs, electrical stoves…), and by the end of the 1960s products of
brands such as Coca cola, Nestle, Dr. Oetker, Nivea, Dior, Helena Rubinsein and
others have long been available. The number of foreign tourists rapidly grows.
And the interest for learning English language grows year after year. The
1960s are also the time of total domination, and great popularity of foreign,
63 BILANDŽIĆ, Hrvatska moderna povijest, 383-396; Takođe, Ibrahim LATIFIĆ, JUGOSLAVIJA 19451990 (razvoj privrede i društvenih djelatnosti), 22-23. http://www.znaci.net/00001/120.htm (15. 05. 2017).
64 As Jambrešić Kirin and Blagaić formulate, one macro social change when it comes to the turn from “the
world of production“ to “the world of consumption“. Renata JAMBREŠIĆ KIRIN, Marina Blagaić, “The
Ambivalence of Socialist Working Women’s Heritage: a Case Study of the Jugoplastika Factory“, Narodna
umjetnost 50/ 2013, 59.
65 “New economic policy which would be more oriented toward consumption“ and that it is time for a
generation that carried out the revolution to “enjoy life“ and to improve its “quality of life“, was announced
by Josip Broz Tito in 1955:“Today’s generation invested much effort into rebuilding of the country, now
it deserves to live better and some tasks need to be given to future generations“. According to: Ivana
DOBRIVOJEVIĆ, “Industrijalizacija“, in Nikad im bolje nije bilo? Modernizacija svakodnevnog života u
socijalističkoj Jugoslaviji, (ed.) Ana PANIĆ, Beograd: MIJ, 2015, 35. Igor Duda states that Program of the
League of Communists of Yugoslavia from 1958 foresees “more comfortable life“, property “over various
products of consumption“, achieving “better servicing of consumers with goods“ and care for their “everyday
needs and supply, for their relaxation and entertainment“. Igor DUDA, Pronađeno blagostanje: Svakodnevni
život i potrošačka kultura u Hrvatskoj 70-ih i 80-ih, Zagreb: Srednja Evropa, 2010, 18.
66 Zoran JANJETOVIĆ, Od ,,Internacionale“ do komercijale: Popularna kultura u Jugoslaviji 1945–
1991, Beograd: Institut za noviju istoriju Srbije, 2011, 17. This process as the process of americanisation of
Yugoslav society in detail analyses Radina Vučetić in her book Koka-kola socijalizam. Amerikanizacija
jugoslovenske popularne kulture šezdesetih godina XX veka.Videti: Radina VUČETIĆ, Koka-kola socijalizam.
Amerikanizacija jugoslovenske popularne kulture šezdesetih godina XX veka, Beograd: Službeni glasnik, 2012.
67 Ibid, 77-84. It needs to be said that this didn’t go without resistance. Intellectual public and official
instances often labelled these contents as worthless, decadent, but also justified it by commercial reasons,
as the ground for the survival of journalist-publishing houses. More: Reana SENJKOVIĆ, Izgubljeno u
prijenosu: pop iskustvo soc kulture, Zagreb: institut za etnologiju i fokloristiku, 2008, 51-82.
68 For example, crime and detective novels were printed in millions. Predrag Marković states that only daily
newspaper Politika published around 150 of such titles yearly, during the mid-1960s. Predrag MARKOVIĆ,
Beograd između Istoka i Zapada, 1948-1965, Beograd: Službeni list SRJ, 1996, 483.
69 VUČETIĆ, Koka-kola socijalizam. Amerikanizacija jugoslovenske popularne kulture šezdesetih godina
XX veka, 166. See also JANJETOVIĆ, Od ,,Internacionale“ do komercijale: Popularna kultura u Jugoslaviji
1945–1991, 112-137.
70 In regard to Elvis Presley, it is interesting that he becomes popular already in the 1950s, and in 1956
Borba prints an article about him. In the same year Ivo Robić tries himself in the new genre. VUČETIĆ,
Koka-kola socijalizam. Amerikanizacija jugoslovenske popularne kulture šezdesetih godina XX veka, 187188 i 194-195. Se also, JANJETOVIĆ, Od ,,Internacionale“ do komercijale: Popularna kultura u Jugoslaviji
1945–1991, 138–171.
71 On development of television in Yugoslavia, see: Ildiko ERDEI, “Novi život na “malom ekranu“ i oko
njega: počeci televizije u socijalističkoj Jugoslaviji (1955–1970)“, in Issues in Ethnology and Anthropology,
10 (2)/ 2015, http://www.anthroserbia.org/Content/PDF/Articles/93969b31c0d740bf96f851e5aca9ecea.pdf.
(12. 05. 2017.)
88
89
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
most of all US TV shows and films, Disney characters, cowboys, and Indians,
of stories and pictures which played a big part in acceptance of new values
and views on life of all generations of Yugoslav society, by daily introduction
of Yugoslav citizens to the American dream. In particular a large role in the
reception of those influences, without a doubt, was film.
As it was already mentioned, almost right after the war central movie
studios were being established, so that in 1951 in each of six republics there
was one film centre, and the number of movie theatres doubled to up to
around 920.72 Watching movies was a favourite entertainment after the war
and the number of movie goers has continuously rose – from 31 520 000 in
1946 to almost double - 67 926 000 at the end of 1950.73After a conflict with
Cominform (Information Department of Communist and Working Parties)
in 1948 instead of Soviet films which dominated by then, importation of
movies from the West starts, enabled by the financial aid from the USA.74
Introduction of socialist self-management for the young film industry meant
dissolution of the Committee for Cinematography which was built after the
war and establishment of Association of Film Workers of Yugoslavia. Since
then the production groups of the Association had, in theory, the ability to
establish their own financial means through distribution contracts, renting
and leasing, income from co-production and alike. Even though due to a lack
of development in the film industry that did not come to life up to 1956 when
Basic Law on Film was adopted, which changed state subventions with tax
on cinema tickets (17-20%)75 that also influenced the larger commerciality
of domestic film production. The taste of the audience and the marketability
of the movies either filmed or imported became an increasingly important
factor. One of the most symbolic milestones when it comes to film, represents
the screening of the American musical “Bathing Beauty“ in 1950. “Bathing
Beauty“, from 1944, by the director George Sidney with Esther Williams in
the main role, was for Yugoslavs the representation of opulence and material
wealth which was a far cry from the life in general destitution in which the
people still lived. With this film, its pretty girls in bathing suits and jazz
music, first pictures of western consumerist world entered Yugoslav everyday
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
life. The film had enormous popularity. People waited in lines for a movie
ticket and many have seen it multiple times. It can be assumed that for the
most of the viewers it represented, even for a short while, an escape from
the dreaded reality of the post-war poverty and memories of war that were
still fresh. Evaluating the reasons of the popularity of this film in Belgrade,
Bogdan Tirnanić says: “(....) in that heroic time during which only one colour
existed, when everything was uniformed, poor, without softness, time of epic
greyness, ’Bathing Beauty’ introduced the element that was just devastating.
The first strike of that film, which was some kind of spirit atomic bomb that
absolutely devastated everything “.76 Along with the large viewership of the
movies imported from the west77, with Vesna by František Čap in 1953 as one
of the first films of “easy genre”, the production of domestic movies whose
primary goal was to entertain the audience also starts.
Hider Petterson, speaks of Yugoslavia, from the end of the 1950s, as
unique among “communist” countries in the time of the Cold War and its
openness to mix cultural elements of socialism and capitalism. He highlights
the meaning of liberal visa arrangements, travel and Yugoslavs leaving to work
temporarily into western countries, but also the significance of western media
in creating a consumer society, and evaluates the 1960s and 1970s as its golden
era, when the economic miracle happened, though, at the expense of large debt
and loans by the country, for the purpose of sustaining the living standard.78That
economic miracle had its other face. The introduction of self-management
demanded profitability from the companies, and the companies had to rely on
income, from the subventions and from the market sales.79After tax deduction,
the income stayed within the company, without interference from the state
(except from abiding by the rule on minimal personal income according to
level of education), but with strong participation from the municipalities.80
During the other half of the 1950s comes a change in payment politics, so after
1955 a system of centralized salary determination is left behind, and in 1958 a
system of payment according to performance was introduced, and the level of
salaries of individual workers became dependant on the “success of the working
place at the market“ and incitement for competition among self-managers was
provided „not only inside, but between working positions“.81In the beginning
72 Dejvid A. KUK, Istorija filma II, Beograd: Clio, 2007, 526.
73 Ibid.
74 Ljubodrag DIMIĆ, Agitprop kultura. Agitpropovska faza kulturne politike u Srbiji 1945-1952, Beograd:
Rad, 1988, 179.
75 Ibid, 527; Even though the workers in the film industry had a legal freelance status from the fifties, hence
the directors had to always look for new projects and were responsible for the economic success of the film,
they were not completely left to the market. They used social infrastructure of the studio and laboratories,
institutions funded art movies, not only entertainment. Some movie directors have established independent
film companies during the sixties, which provided them with economic independence (for example Neoplanta)
and became source of income, so we can talk about the establishment of some king of public-private
partnership that produces and distributed films across Yugoslavia. Gal KIRN, “Crni talas kao umjetnički
izraz ‘Praxisa’?“, in Praxis : društvena kritika i humanistički socijalizam : zbornik radova sa Međunarodne
konferencije o jugoslavenskoj ljevici: Praxis-filozofija i Korčulanska ljetna škola (1963-1974), (eds.) Dragomir
Olujić Oluja, Krunoslav Stojaković, Beograd: Rosa Luxemburg Stiftung, 2012, 252-253.
76 According to DIMIĆ, Agitprop kultura. Agitpropovska faza kulturne politike u Srbiji 1945-1952, 179.
77 See more in VUČETIĆ, Koka-kola socijalizam. Amerikanizacija jugoslovenske popularne kulture šezdesetih
godina XX veka, 79-144. Radina Vučetić cites another and not meaningless information: defined in numbers,
American movie was four to five cheaper than Soviet, and brought about twenty times more profit. Ibid, 103-104;
Videti i JANJETOVIĆ, Od ,,Internacionale“ do komercijale: Popularna kultura u Jugoslaviji 1945–1991, 172.–218.
78 Patrick Hyder PATTERSON, Brought and Sold: Living and Losing the Good Life in Socialist Yugoslavia,
Ithaca, United States: Cornell University Press, 2011, 134.
79 Darko SUVIN, SAMO JEDNOM SE LJUBI. Radiografija SFR Jugoslavije, 1945.-72. Uz hipoteze o
početku, kraju i suštini, Beograd: Rosa Luxemburg Stiftung, 2014, 231.
80 Ibid, 232.
81 Vladimir UNKOVSKI- KORICA, “Jugoslovensko samoupravljanje: upravljanje radništva ili upravljanje
radništvom?“, in E-zbornik: Nasleđe jugoslavenskog socijalizma. Promišljanje. Razgovor. Rasprava. Kritika,
(eds.) Marijana STOJČIĆ, Dragomir OLUJIĆ, Beograd: Forum za primenjenu istoriju, 2014. no longer available.
90
91
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
of the 1960s, after a decade of continuous economic growth, there was a
crisis.82 The solution was sought in the economic reforms in 1963 and 1965
in the direction of further weakening of the state’s role, its decentralization
and liberation of the market.83 Gal Kirn cites that socialist companies entered
into fierce competition which reflected increasing inter-regional differences.
Yugoslavia faces, among other things, increasing dependence on foreign loans,
a significant rise of social differences and increasing inequalities in society, an
enormous rise of unemployment and from the middle of the 1960s occurrence
of “workers temporarily working abroad” (i.e.Gastarbeiter).84According to
Suvin, unemployment, if counting the number of workers abroad and persons
looking for job, from 1960 when it was 10%, up to 1969, has risen to 13.5 %.
Considering that the Yugoslav community was imagined as the community
bound by work, unemployment meant exclusion from the full membership and
social right, moral and material marginalization. The work force encompassed
two large groups of workers: those who had a steady job and “those who from
then on we started recognizing as ‘precariat?’”: “people trapped for a long time
between unemployment and staying at home from one side and from the other
trapped by the insecure and unsteady jobs, paid poorly and poorly supervised,
hence the places of the more cruel exploitation”.85
Socio-economic, political and cultural processes through which the
Yugoslav society went through inevitably reflected on the position of women.
As mentioned previously, paid work and education for women (followed by
very advanced legal regulation) were seen as the most important factors of
women’s emancipation. Yugoslav legislature gave guarantees of gender equality
and within it were built all international conventions which regarded the
position of women, and after WWII the number of women who were entering
the work market constantly rose.86 Mass penetration of women into the
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
economy of socialist Yugoslavia brought with it a new situation, where women
were active in regular jobs, as socio-political workers and active at home. On
the other side, social and political engagement of women started to decrease
already from the 1950s. Already then activists of the AFŽ started to record
an increase in attitudes about how “we developed socialism in such great
measure that woman can go back home and raise children”87, and weakening
of ideological enthusiasm in combating patriarchal attitudes which were
earlier harshly judged as backwards and counter-revolutionary.88According
to Stojaković’s opinion, some of the reasons could be found in the lack of
need for major work force engagement. Also, with the introduction of selfmanagement, pressure on companies to show positive results influenced a
reduction of subventions for social standard institutions (kindergartens and
nurseries)and a discharge of the work force with lower qualifications (which
were dominated by women).89Along with that, mass migrations into the cities
were not followed by adequate measures which would make women from
the rural places employable in urban areas90, which made them structurally
excluded from the public domain, and left them without a possibility to
acquire economic independence and burdened with children care. While until
then realized social care for children and mothers91 becomes too expensive,
leaving work for one part of women also meant liberation from double burden
– in the work place and in household. Although some attempts were made on
socializing of jobs which are done at home through opening of services for
women, their services were used by a very low number of women.92A similar
situation was with the restaurants of social nutrition which were mainly used
by single men.93 In a survey conducted by the magazine “Practical woman”
(Praktična žena) in June 1956 one of the questioned women describes the
situation like this: “You say that my work day lasts 13 hours. Thank you a
lot! For me it lasts almost 18. I’m exaggerating? I would like you were in my
place… First, I’m on my feet for 8 hours, on the counter. Then there’s cooking,
washing, darning, cleaning. Double shifts, four times going to work and back.
And my husband won’t even take the laundry to wash or to go to the market
when he has time”. Another statement is also very illustrative: “I often listen
82 Videti više, SUVIN, SAMO JEDNOM SE LJUBI. Radiografija SFR Jugoslavije, 1945.-72. Uz hipoteze o
početku, kraju i suštini, 235-238.
83 Market reform of 1965 included so called 4D policy: decentralisation, removal of state control
(“deetatizacija”), depolitisation and democratization. See, Gal KIRN, “Klasne borbe u socijalističkoj
Jugoslaviji“, http://tclinija.net/klasne-borbe-u-socijalistickoj-jugoslaviji/ (17. 05. 2017). On goals of Economic
Reform, see also MILENKOVICH in GANSCHOW, Thomas, BERTSCH, Gary (eds.), Comparative
Communism: The Soviet, Yugoslav, and Chinese Models, San Francisko, CA: Freeman, 1976, 352-362. Also,
SUVIN, SAMO JEDNOM SE LJUBI...,238-239.
84 See more: Gal KIRN, “Klasne borbe u socijalističkoj Jugoslaviji“, http://tclinija.net/klasne-borbe-usocijalistickoj-jugoslaviji/ (17. 05. 2017). On phenomenon of Gastarbeiter see: Boris BUDEN, ”Gastarbajteri,
glasnici budućnosti”, http://www.slobodnifilozofski.com/2012/08/boris-buden-gastarbajteri-glasnici.html (10.
05. 2017). On educational structure of migrant workers in that period see SUVIN, Samo jednom se ljubi, 293.
85 Ibid, 294.
86 From the mid-1950s, the average rate of women employment growth was higher than the average rate of
employment growth of all people. The percentage of women participating in total employment in Yugoslavia in 1954
was 24,8%, in 1964 it was 29,2% ad in 1974 – 33,9%. In the late 1960s and early 1970s the highest percentage of women
employed were of a lower education, followed by middle level education, and as a third category women with higher
education. At the beginning of the 1970s this category grew the fastest. Total employment rate in former Yugoslavia
from the 1950s to 1990s increased 4,5 times. However, participation of women in total number of employed people
is very diverse when different parts of the country are considered. The biggest percentage of women employed was in
Slovenia (45,7%), while the lowest was in Kosovo (22,9). GUDAC-DODIĆ, “Položaj žene u Srbiji (1945–2000)“, 66.
87 Ibid, 64.
88 Karl KAZER, Porodica i srodstvo na Balkanu, Analiza jedne kulture koja nestaje, Beograd: Udruženje
za društvenu istoriju, 2002, 441.
89 STOJAKOVIĆ, Rodna perspektiva novina Antifašističkog fronta žena (1945-1953), 69.
90 Anđelka MILIĆ, , “Preobražaj srodničkog sastava porodice i položaj članova“, in Domaćinstvo porodica
i brak u Jugoslaviji: društveno-kulturni, ekonomski i demografski aspekti promene porodične organizacije,
Anđelka MILIĆ, Eva BERKOVIĆ, Ruža PETROVIĆ (eds.), Beograd: Institut za sociološka istraživanja
Filozofskog fakulteta, 1981,, 157.
91 Videti: Sanja PETROVIĆ-TODOSIJEVIĆ, “Analiza rada ustanova za brigu o majkama i deci na primeru
rada jaslica u FNRJ”, in Žene i deca - Srbija u modernizacijskim procesima XIX i XX veka, (ed.) Latinka
Perović, Beograd: Helsinški odbor za ljudska prava u Srbiji, 2006, 176-187.
92 Vera GUDAC DODIĆ, Žena u socijalizmu - Položaj žene u Srbiji u drugoj polovini XX veka, Beograd:
Institut za noviju istoriju Srbije, 2006, 107.
93 Ibid, 108.
92
93
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
to a customer on the counter but I don’t hear them… I wasn’t on a syndicate
meeting for four years. I am approximately on the same level (or even lower) on
which I was when my first child was born…” For many of them the exit was
going back home to the place which “naturally” belongs to them. Or in one
of the survey’s participant’s words: “Now it’s like this: if she wants to be good
at work she needs to neglect her family; If she does a good job at home than
she’s not good at work. Therefore it is better for her to go back to the family.
Or that we men take over that duty. But we are really not good at that. Just
to be clear! I am not generalizing, but in my case it will be exactly like that.
Though she does protest, but I doubt that it will help her.”94 Mitra Mitrović,
among other, a pre-war communist and one of the prominent members of
later abolished AFŽ, writes about this with exasperation: “And maybe as in
no other question – suddenly one great span: from full civilization to full
discrimination. Nothing unusual. Like from great fortune to total misery, or
from completely developed country to total backwardness. But it seems like
here, regarding this problem, almost more than in the racial and class issue,
enslaving is more obvious, more complex, because it doesn’t depend only on
the powerful, it doesn’t depend on distant and foreign, rich or white, but also
on those closest, man, individual, father and brother, even son, who themselves
cannot brake the chains of prejudices and attitudes, which are imposed on
them too, understandably sometimes long ago, but which became an integral
part of life and customs and house rules”.95
Already from the 1950s the occurrence of a trend different from
one during and after the war can also be identified in the press. While the
subjects of magazines during and after the war were mainly in connection to
the people’s liberation struggle, political situation, but also to a new role and
equal contribution of women first in the war, and then in the restoration of
the country, from the 1950s the cult of femininity and beauty, the culture of
dressing and fashion, rejected after the war, are starting to revive. Domestic
illustrated and fashion magazines, which share images and news from the
fashion world, are starting to be published, imitating their foreign role
models.96 Daily newspapers gradually introduce their women pages, women
columns which contain mainly advices for managing household, hygiene,
and fashion and care. Representation of women as subjects, young and old,
from the cities and villages, educated and just newly literate who with their
personal effort do something for themselves in the domain of women’s rights
and common good (whether they are in active women roles or roles from
economy of care) which was dominant after the war, is changed with gradual
reaffirmation of traditional women roles. Basic subjects of the women’s press
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
in the late 1950s are home as a paradigm of bliss and body as a paradigm of
a more open sexuality and more direct seduction.97 This process can also be
followed through the representation of women on film, especially in films that
were made for wide audiences. Exactly because they interpreted contemporary
reality in an easy and unpretentious way with the main goal to entertain, they
simultaneously illustrated and followed the changes of Yugoslav society and
changes in its orientation and values. Nebojša Jovanović notes that already in
the early 1950s the figure of proletarian woman is gradually being changed
with the figure of a housewife. As he states, that change is announced by the
film “Lake” (Jezero, 1950) from the author Radivoj “Lola” Đukić. This film
has a specific narrative which varies in future films98. For the purpose of this
text, we will simplyfie this narrative thus: male protagonist is a social-realist
hero who through devoted work gives his contribution to the restoration of
the country and its bright future. In most cases he comes from the city to the
village or to another backward part of the state which was not yet touched
by the blessing of industrialization and socialist modernization. That mission
requests sacrifices which his partner (wife or girlfriend) does not understand
and/or is resisting them. Contrast between him and her (devoted only to
realization of her own demands and trivial wishes, without a conscience and
responsibility to the society, often spoiled, “hysterical” and demanding), are
the base of this pattern. Image of women/housewives completely relying on
men was no longer reserved for “bourgeois” women, but spreads on women
in general. Image of marriage is in the spirit of conservative, monogamous
model: man remains a worker and a provider for the family, and woman can
be happy only with her man – she is no longer put in relation to work. She is
a housewife with the entire burden that this stereotype traditionally bares.99
From the mid-1950s, image of a woman is ever more similar to western
consumerist representation of femininity in which the level of beauty and
attractiveness plays dominant role. From that standpoint is the analysis of the
film “Love and Fashion” (Ljubav i moda, 1960) from the author Ljubomir
Radičević very interesting.100 Heroine of the film is Sonja Ilić (Beba Lončar) a
modern student from a big city whom we see in the introductory scenes of the
94 For all cited statements from the survey “Kako da se pomogne zaposlenoj ženi“ (Praktična žena, jun,
1956) we owe our gratitude to Jelena Tešija who turned our attention to them.
95 Mitra MITROVIĆ, Položaj žene u savremenom svetu, Beograd: Narodna knjiga, 1960, 8.
96 VUČETIĆ, Koka-kola socijalizam. Amerikanizacija jugoslovenske popularne kulture šezdesetih godina
XX veka, 32-40.
97 Neda TODOROVIĆ-UZELAC, Ženska štampa i kultura ženstvenosti, Beograd: Naučna knjiga,
1987, 113-133.
98 Like films “Zenica” (Zenica) from 1957 from the authors Miloš Stefanović and Jovan Živanović, “It Was
Not in Vain” (Nije bilo uzalud, 1957) from the author Nikola Tanhofer, “Only People” (Samo ljudi, 1957) from
the author Branko Bauer and “On That Night” (Te noći, 1958) from the author Jovan Živanović.
99 For more, see: Nebojša JOVANOVIĆ, “Gender and Sexuality in the Classical Yugoslav Cinema, 19471962“, Chapter 4: “How the love was tempered: Labour, romance, and gender asymmetry in the construction
cycle 1948-1958“, 131-179.
100 Here only a short review of this film will be made, first of all because of cult status which it almost
immediately acquired. For a more detailed analysis, see: Maša MALEŠEVIĆ, “Iskušenja socijalističkog
raja – refleksije konzumerističkog društva u jugoslovenskom filmu 60-ih godina XX veka”, Glasnik
Etnografskoginstituta SANU 57(2)/ 2012114-115; Takođe, Branko Dimitrijević, Potrošeni socijalizam
– Kultura, konzumerizam i društvena imaginacija u Jugoslaviji (1950-1974), Beograd: Fabrika knjiga:
Peščanik, 2017, 104-113.
94
95
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
film as she drives her Vespa through Belgrade’s downtown in her pepito dress
with a petticoat. In this film, Belgrade looks like any other western metropolis
as presented in tourist promotional videos. Displays of wide streets with a
picture of airport from which Belgraders fly to Rome and other destinations,
young people dressed in the latest fashion and pictures of Kalemegdan terrace
on which dances are being organized take turns. It is a modern carefree city
of joy, music and glamour. The story has two narrative streamlines. First one
describes Sonja’s and her friends’ efforts to get money for summer vacation,
because aero club to which they belong cannot provide it for them. Second
narrative line follows the effort of Belgrade fashion house Jugošik to organize in
a short time a fashion show before their completion - fashion house Jugomoda
which has betrayed their agreement on working together. Chief designer of
Jugošik, Bora (Rade Bulajić) has a creative block. Inspired by his love for Sonja,
he manages to design models for the show. And due to the web of circumstances,
Jugošik is going to hire a group of young people from the aero club to present
fashion collection to the audience instead of fashion models who did not arrive
from Italy. In the final of the film we see a spectacular fashion show on the
ship, with fireworks and contemporary top stars of Yugoslav popular music.
As Maša Malešević states: “The subject of the film itself – fashion, as one of
the most explicit products of consumer culture, and practically everything
else, from the competition of two companies, or market business, to the
complete omission of any reference to political organization of the country
and its symbols (only indication is addressing with “friend” (“druže” and
“drugarice”)), clearly shows to which measure has the idea of consumer society
in socialist conditions become acceptable and affirmed practically without
restraint”.101When we think about representation/s of women, the question
which should be asked is: what is the place of women in the world whose
image this film offers? In this framework, the world of work is a man’s world.
Although, through the film, we find out that the girls are studying, the fields
in which they study are, at least colloquially, connected to aesthetics, like
architecture or art history. Studying in this context is not in the function of
work, but in “getting a degree”. (Or how young men in the film formulate it:
“Oh, come on, please don’t, Žizabel! Like it’s a real science – art history.” “I’m
telling you a tale. Frescoes, monasteries, Sponza [gothic-renaissance palace
in Dubrovnik (comment by M. S.)]… and a degree” [“Ma, nemoj, molim te,
Žizabel! K’o da je to sad neka nauka - istorija umetnosti.“ “Pričam ti priču.
Freske, manastiri, Sponza [gotičko-renesansna palača u Dubrovniku prim.
M.S.]... i diploma“]). If a stewardess and a secretary were excluded, whose
vocations are in big part a continuation of traditional woman gender role from
the private domain, there are no female characters in the movie who are in
a relation to work. The secretary, whom we only see in the work place, is
presented in situations where she technically assists men in their work, paints
her nails, is making herself pretty or takes out food. Main female character,
Sonja, is beautiful, young and nourished, dressed by the latest fashion, object
of male desire, inspiration and a muse. Her world is framed by her romance
with Bora, her hobby and social events. She is a personification of a woman of
the new age and very fast becomes a model to strive to.
It should be mentioned again that this process of reaffirmation of
traditional gender stereotypes has developed gradually and it is not singular
in its meaning. It is characterized by various contradictions and oscillations
between efforts for women emancipation and perpetuating of gender
essentialism and it reflected ambivalence of Yugoslav socialism when it comes
to women’s position. Due to circumstances, entering the Second World War,
and after that the participation in rebuilding the country for significant number
of women represented the path of politicization and political subjectivization.
Their participation was necessary for those activities. The official stance during
all the time of the existence of Yugoslav Socialism was that women right to
work and to participate in political life is non-questionable attainment of war
and revolution. At the same time, representation of the woman’s double role as
worker and mother, as the one who is primarily responsible for reproduction and
family, was never actually questioned. That inevitably led to double burden for
women. With the development of “market socialism”102 and consumer society,
one of the results of these processes in the 1960s is that we can talk about two
parallel representations of woman being sustained and connected – a woman
as a “socialist working human” in public domain, i.e. official discourse with
western consumerist representation of femininity in private domain. Dominant
ideology of the everyday life is consumerist. Woman-role model is the one who
successfully balances between caring mother, homemaker, wife and working
woman, at the same time not questioning her own beauty, sexual attraction
and femininity. Deep conflicts between the demand for equality of men and
women in theory and implicitly encouraged deep gender asymmetries, can be
recognized in popular culture of that time. Interesting illustration of this in
film can be found in an unpretentious comedy, “Men – yesterday, today and…”,
directed by Milo Đukanović in 1963 which deals with marital life and malefemale relations. Mira (Olivera Marković) is a medical doctor who struggles
with constant balancing between her job and household care, her addle-headed
husband Žika (Slobodan Perović) and their four children. Outlines of the life
of one “average Yugoslav family” can already be seen in opening credits which
lead us into the place of events. It is a big, modern residential building on whose
terraces we see women shaking carpets, spreading laundry, washing windows
and taking children away from the fence. While she’s getting ready for work,
Mira simultaneously prepares breakfast, tries to prepare two youngest kids for
the kindergarten, makes beds and assists Žika in his preparations. While she’s
taking the kids to the kindergarten, Žika notices that she has no make-up and
101 Maša MALEŠEVIĆ, “Iskušenja socijalističkog raja...”, 115.
102 About „market socialism“, see more: Gal KIRN, „Klasne borbe u socijalističkoj Jugoslaviji“, http://
tclinija.net/klasne-borbe-u-socijalistickoj-jugoslaviji/ (17. 05. 2017)
96
97
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
no nail polish and adds that it wasn’t like that when “they got married” [“kad
su se uzeli”], that she used to “sleep on the mirror” [“spavala na ogledalu”] in
those days. Mira’s response is that she “didn’t have four children” [“nije imala
četvoro dece”] when they got married. She takes her kids to the kindergarten
where we see other women too giving their children to the kindergarten
teacher (who is also a woman). In her office, after an exam she yawns weary.
Žika’s work place is an office in which we see secretaries diligently typing and
managers who are, without exception, all men. On her way home, Mira goes
to pick up her children and to the groceries store. While she’s preparing lunch,
she simultaneously explains to her boss that she is certain that “the records
remained in the chamber” [“snimci ostali u komori”] because, unfortunately,
she had to hurry home to “make lunch” [“spremi ručak”]. After the lunch
with which Žika is not satisfied, Mira vacuums the apartment while Žika
reads the papers. Under the excuse that he needs to go to a meeting, in the
evening Žika goes to a pub with his colleagues who are all men. On his way
back, tipsy Žika hugs his wife who is already asleep in their bed, and says that
he would like another kid which Mira refuses with the words: “Žika, please,
leave me alone, I am sleepy and tired” [“Žiko, pusti me, molim te. Spava mi
se, umorna sam”]. Rest of the film develops in the same direction. Among
other things, with the humorous miniatures like the one where Žika tries to
explain to his son the difference between his mother and a maid, when the
boy notices that his mother does all the tasks which usually does the maid.
Or through the dialogue: “How can’t you make a lunch when you’ve eaten so
many times?” “I don’t know.” “But how does mom know?””She’s a woman”
[“Kako ne znaš da spremiš ručak, a toliko puta si jeo?“ “Ne znam“ “A kako
mama zna?“ “Ona je žena”].These humorous dialogues outline the horizon of
the world in which household care is a “natural” woman’s responsibility. After
a failed attempt to hire a maid and a quarrel (in which Mira explains to Žika
that she is dead-tired, and he complains that she is acting like a “martyr”),
Žika makes a suggestion that he takes a month off on sick leave and take
care of the house and children. Shortly after this event the tables turn: Žika
is no longer interested in nights out because he is too tired in the evening,
he spends his time exclusively with the neighbours with whom he exchanges
advices concerning household and marital life, and Mira completely overtakes
his earlier (”male”) behaviour.103After many complications in which we see a
marital crisis and a social pressure on Žika to behave as “a man should” [“kako
se ponaša muškarac”] (a ridicule of the neighbours, threats of being fired,
because he “will ruin them all” [“sve će ih upropastiti”]104), the denouement
which film gives is very interesting. The solution is not in going back, but in a
different division of tasks where work in a household will be a responsibility of
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
men and women. In the final of the movie, colleagues from the beginning of
the film can be seen as they wash dishes or make desserts, and on the buildings
terraces man and women working together.
Regarding the position of women in Yugoslavia it is important to
understand that the chasm between centre and the periphery is one of the key
matters for understanding their position. Position of a woman in Yugoslavia
varied considerably in relation to, not only their education and ability to travel,
but also on the part of Yugoslavia in which they lived in and was it an urban
centre or not. Simultaneously there were significant differences in the level
of development of different Yugoslav republics, in possibilities and quality
of life in developed and undeveloped, rural and urban areas of the country.
Representation of a Yugoslav woman as “emancipated” and “westernized”
illustrates the experience only of middle and higher middle class women from
urban centres. Experience of most of the people (men and women) from rural
and people living between rural and urban areas, as a rule, did not find its
place in mythologized image of social progress in socialist Yugoslavia. Image
of people on the margins of Yugoslav socialism was introduced in a significant
measure by directors of the New Yugoslav Film (so called Black Wave).105. While
on the one hand, Black Wave expanded the repertoire of male characters and
the ways in which they were presented, there is an impression106 that in the
representation of women stereotypical characters of women-victims dominated.
Even when female characters are presented through various radical strategies
in relation to representation of female body and sex, they do not go too far
from stereotype displays of femininity, remaining in the frames of patriarchal
pattern where female attempts on resistance are punished with violence, death
and insanity. In a sense, anticipating the decades which were to come.
Summary and concluding remarks
The purpose of this essay was the analyses of the ways in which change
in film representation of women from partisan as a revolutionary subject into
house keepers and consumerists at the end of the 60s, related to changes in the
socio-political context of socialist Yugoslavia and to abandonment of the issue
of the emancipation of women as a social and political issue. It started from
the simple assumptions that films occur in a certain socio-political context
and that some value orientations are necessarily transcoded107into specific
103 Which can be interpreted as a sort of acknowledgement that male and female roles (as expected
behaviour) are closely connected to, in this case, gender division of labour.
104 Colleague Rade (Bata Živojinović) warns Žika to get himself streight: “If our wives see this, we are
bound to wear an apron“ [“Ako ovo vide naše žene, ne ginu nam kecelje“].
105 New Yugoslav Film (for which later the name Black Wave was established) is regarding films created from
1961 to 1972. As an expression of rebellion against unachieved ideals of Yugoslav socialism it points to the cracks
in an idealized image of socialist system: drawing attention to unemployment, juvenile delinquency, prostitution,
economic poverty, marginalization of different social groups and similar. For a short review, see: KUK, Istorija filma
II, 530-537.Videti više na primer: Greg DE CUIR, Jugoslovenski crni talas, Beograd: Filmski centar Srbije, 2011.
106 Any real conclusion demands deeper research.
107 Here the expression transcoding is used as determined by Douglas Kellner as processes and ways of
transmitting social discourses into media texts. Daglas KELNER, Medijska kultura, Beograd: Clio, 2004, 95.
98
99
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
films. From that perspective, film representations of women also provide the
space for evaluating success but also the limits of the emancipatory politics of
the socialist Yugoslavia when it comes to achieving full equality between men
and women. At the same time, in the limited domains of female emancipation
during socialism, the weaknesses of the Yugoslavian emancipatory project in
general are being interloped.
An important part of the socialist project of modernization whose
goal should have been freeing the work and the man and society based on
solidarity, the value of work itself and autonomy of individual and society
on the whole, was the liberation of women. Accomplishing gender equality
in all segments of social life on one side, should have been the confirmation
of surpassing traditional (patriarchal) society and the successful overcoming
of all the barriers on the road to modernization of Yugoslavian society; on
the other side, the evidence of the righteousness of the Yugoslav road into
socialism. Mass participation of women in the war and in the revolution and
ideological framework of the Communist Party of Yugoslavia created a political
environment where formal and legal equality of women became part of the
general principles of the party state. Paid labour and education of women
(followed by very advanced legal regulations) were seen as the most important
factors of women´s emancipation and it should have continued to be developed
and to encompass all aspects of the social life. At the same time, women’s
primary responsibility for reproduction and care for the family and household
was never questioned. In the situation where most women worked outside the
home as well, that resulted in double burden for women and consequently
their passivity, as well focusing on lesser paid positions with small social power.
Abolishing Women Anti Fascistic Front (AFŽ) and making the issue of female
equality into a “common social issue... the issue of a general fight, the strength
of socialism which is led by the Communist Association and Social Association
of the Working People, the bearer of the socialist education of masses“108,is
coinciding with times of the introduction of market elements into the Yugoslav
economy, sharper competition between companies and gradual development
of the consumer society. The already achieved level of what was imagined
as the “infrastructure of female liberation”(nurseries, kindergartens, public
kitchens, cheap self-serving restaurants and alike) becomes too expensive. In
the decades to come we witness the process of reaffirmation of patriarchal
women gender stereotypes, accompanying roles and the area of social life.
The primary domain of a woman is the sphere of private, family and home,
house work, care for children, the old and weak. Her character is sexualized or
transformed into a home angel who seeks its self-fulfilment in love, marriage
and a perfectly equipped home. A homemaker is again discovered as a repressed
subject whose unrecognized and unpaid (physical and affective) work enables
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
family functioning, but also the functioning of society as a whole. Already
in the middle of the sixties we can locate the beginning of the period which
Darko Suvinnames names as les vingtminablesand finally even as déshonorantes
(twenty inglorious and finally even despicable years).109According to him, in
this period, the turn toward the market without planning and toward party
territorially divided polyarchy represents a basic withdrawal from building
a society based on justice, solidarity and human emancipation.110 Instead,
already in the seventies, turning toward traditional sentiments, from national
to cultural traditionalism, in short, turning toward conservative cultural values
and their political expression, nationalism, is visible.111
In that sense, in spite of huge steps that were made during the socialist
Yugoslavia when it comes to improvement of women’s rights, very early
withdrawal from achieving full equality and equity between men and women,
can be treated as anticipation of the giving up that came later. Inclusion into
the fight to free the country as a fighter and worker in the background, then
into building the country after the Second World War was for a lot of women
a process of politicization and political subjectivation. Apart from realizing
their own oppression, part of that process was realizing that for a change of
their own position it was necessary to fight not only against occupiers, but
often against the prejudices of comrades and their own friends (during and
after the war). Transformation of the relatively autonomous AFŽ into mere
transmission of the party’s will and then its abolishment in 1953 is the sign of
what remained the constant for the duration of the existence of the socialist
Yugoslavia – lack of readiness of the paternalistic state-party structures to truly
submit levers of control over society and incite more intensive development of
the democracy from below in which the women would be the actors of their
own freedom. The control of the women’s organized activities and defining its
activities from the party and state, has basically led to depoliticisation of women
and so called women issues. Consequently, nominal social egalitarianism and
patriarchal conscious which is built on hierarchies could co-exist without
interference. Repressing the issue of equality and equity as second class in
relation to the class issue, represented a lack of understanding that existence of
appropriate institutional and normative framework and appropriate politics is
necessary but not enough. Possibilities of creating a society based on equality
and solidarity are in direct relation with the change of cultural patterns and
108 From the Resolution on creation of Yugoslav Women Association, umbrella organisation which was
to replace AFŽ, quoted according to Ivana PANTELIĆ, Partizanke kao građanke. Društvena emancipacija
partizanki u Srbiji 1945–1953, Beograd: ISI and Evoluta, 2011, 127.
109 Darko SUVIN, SAMO JEDNOM SE LJUBI. Radiografija SFR Jugoslavije, 1945.-72. Uz hipoteze o
početku, kraju i suštini, 319.
110 Ibid. Todor Kuljić thought that inside Yugoslavia decentralization and removal of state control and
transmitting jurisdiction to republics instead of socializing of the state (“podruštvljavanje države”) has led
to essential strengthening of the republic bureaucracies which represent themselves as the protectors of the
republic, and in time, of the national interests. In the decades to come the republic borders become ethnical,
and the first carriers of these processes are the republic party oligarchies. Todor KULJIĆ, “TITO-sociološko
istorijska studija“, Zrenjanin: Gradska narodna biblioteka “Žarko Zrenjanin”, 2004, 108-126.
111 See more: Boris BUDEN, Želimir ŽILNIK, Uvod u prošlost, Novi Sad: kuda.org, 2013, 103-111. http://
www.kuda.org/sites/default/files/Uvod%20u%20proslost_web.pdf (12.05.2017).
100
101
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
values whose basis is the belief in hierarchy between human beings of unequal
characteristics and unequal possibilities for access to social power. Power
inequality between men and women is the first relationship of domination
and exclusion with which the persons during socialisation encounter. In that
sense, it is a model for accepting as “natural” other systems of domination and
diverse hierarchies of power112 which share the same cultural basis – belief that
superiors should control the inferiors.
Re-examining the socialist project of women’s emancipation and its
reach offers important lessons for rethinking today’s emancipatory projects.
The issue of social justice is more relevant than ever. Every re-examination
of possible alternatives demands the need to analyse the ways in which social
structures reproduce the relationships between domination and exploitation,
limiting the life chances of whole categories of people and keeping them in
a repressed position. In addition, no less important, cultural patterns and
narratives which justify such relationships, strengthen them and reproduce
them continuously. Such re-examination would have to include various levels
on which the structures of privilege and oppression are being reproduced,
because they are complementary and inter-dependant.It is important to
recognize the complexity of how class, gender, nation and lack of agreement to
choose between injustices are interloped. Only then it is possible to open the
space for political projects which aim for radical society change, revolutionary
political movements that will transform the whole society which is not crossed
with lines of class but also gender, racial and heterosexual and every other
form of repression and exploitation. Only when approaching phenomena
in their whole complexity, recognizing the ways the oppression is built into
institutional and social structures, as well as the aspects of culture that make it
possible and acceptable, the alternatives to hegemonic model based on the logic
of profit, capital and nation, become possible – with the understanding that
without creating a society of active citizens, who take and carry responsibility
for political processes and solving social issues, that will just stay another
unfulfilled promise.
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
BIBLIOGRAPHY
112 John L. HODGE, The Cultural Basis of Racism and Group Oppression: An Examination of Traditional
“Western” Concepts, Values and Institutional Structures Which Support Racism, Sexism and Elitism,
Berkeley California: Two Riders Press, 1975, 233.
BANIĆ GRUBIŠIĆ Ana,“Antropološki pristup medijima – kratak pregled (sa
posebnim osvrtom na igrani film)”, Antropologija 13 (2)/ 2013, 135–155.
BARIC, Stephanie, „Yugoslav War Cinema: Shooting a Nation that No Longer
Exists“, MA thesis 2001, Concordia University Montreal, 2001.
BILANDŽIĆ, Dušan, Hrvatska moderna povijest, Zagreb: Golden marketing, 1999.
BLAGOJEVIĆ, Marina, “Žene i muškarci u Srbiji 1990-2000. Urodnjavanje cene
haosa”, in Srbija krajem milenijuma, razaranje društva, promene i svakodnevni život,
(eds.) Silvano BOLČIĆ, Anđelka MILIĆ, Beograd: Institut za sociološka istraživanja
Filozofskog fakulteta u Beogradu, 2002, 283-314.
BOŽINOVIĆ, Neda, Žensko pitanje u Srbiji u XIX i XX veku, Beograd:
Devedesetčetvrta: Žene u crnom, 1996.
BUDEN, Boris, „Gastarbajteri, glasnici budućnosti“, http://www.slobodnifilozofski.
com/2012/08/boris-buden-gastarbajteri-glasnici.html (10. 05. 2017)
BUDEN, Boris, ŽILNIK, Želimir, Uvod u prošlost. Novi Sad: kuda.org, 2013. http://
www.kuda.org/sites/default/files/Uvod%20u%20proslost_web.pdf (15.05.2017)
ČALIĆ, Mari-Žanin, Istorija Jugoslavije u 20. veku, Beograd: Clio, 2013.
ČIRIĆ-BOGETIĆ, Ljubinka, „Odluke Pete zemaljske konferencije KPJ o radu
među ženama i njihova realizacija u periodu 1940-1941. godine“, in Peta zemaljska
konferencija KPJ: zbornik radova, (eds.) Zlatko ČEPO-Ivan JELIĆ, Zagreb: Institut
za historiju radničkog pokreta Hrvatske: Školska knjiga, 1972, 75-97. http://www.
znaci.net/00003/661.pdf (19. 5. 2017)
DE CUIR, Greg, Jugoslovenski crni talas, Beograd: Filmski centar Srbije, 2011.
DIMIĆ, Ljubodrag, Agitprop kultura. Agitpropovska faza kulturne politike u Srbiji
1945-1952, Beograd: Rad, 1988.
DIMITRIJEVIĆ, Branko, Potrošeni socijalizam – Kultura, konzumerizam i društvena
imaginacija u Jugoslaviji (1950-1974), Beograd: Fabrika knjiga: Peščanik, 2017.
DOBRIVOJEVIĆ, Ivana, „Industrijalizacija“, in Nikad im bolje nije bilo?
Modernizacija svakodnevnog života u socijalističkoj Jugoslaviji, (ed.) Ana PANIĆ,
Beograd: MIJ, 2015, 34-35.
DREZGIĆ, Rada, „Bela kuga“ među „Srbima“. O naciji, rodu i rađanju na prelazu
vekova, Beograd: Albatros Plus: Institut za filozofiju i društvenu teoriju, 2010.
DUDA, Igor, ”Uhodavanje socijalizma”, in Refleksije vremena 1945. – 1955, Zagreb:
Galerija Klovićevi dvori, 2013, 10–40.
DUDA, Igor, Pronađeno blagostanje: Svakodnevni život i potrošačka kultura u
Hrvatskoj 70-ih i 80-ih, Zagreb: Srednja Evropa, 2010.
ERDEI, Ildiko, „Novi život na „malom ekranu“ i oko njega: počeci televizije u
socijalističkoj Jugoslaviji (1955–1970)“, in Issues in Ethnology and Anthropology, 10
(2)/ 2015, 405-426.
http://www.anthroserbia.org/Content/PDF/
Articles/93969b31c0d740bf96f851e5aca9ecea.pdf (12. 05. 2017).
ERLICH ST., Vera, Jugoslavenska porodica u transformaciji, studija u tristotine sela,
Zagreb: Liber, 1971.
102
103
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
GANSCHOW, Thomas, BERTSCH, Gary (eds.), Comparative Communism: The
Soviet, Yugoslav, and Chinese Models, San Francisko: W. H. Freeman, 1976.
GOFFMAN, Erving, Gender Advertisements, New York: Harper and Row
Publishers,1979.
GUDAC-DODIĆ, Vera, „Položaj žene u Srbiji (1945–2000)“, in Žene i deca Srbija u modernizacijskim procesima XIX i XX veka, (ed.) Latinka Perović, Beograd:
Helsinški odbor za ljudska prava u Srbiji, 2006, 33-130.
GUDAC-DODIĆ, Vera, Žena u socijalizmu - Položaj žene u Srbiji u drugoj polovini
XX veka, Beograd: Institut za noviju istoriju Srbije, 2006.
HALL, Stuart, ,,Representation, meaning, and language”, in Representation:
Cultural Representations and Signifying Practices, (ed.) Stuart HALL, London: Sage
Publications, 1997, 13-75.
HODGE, John L., The Cultural Basis of Racism and Group Oppression: An Examination
of Traditional “Western” Concepts, Values and Institutional Structures Which Support
Racism, Sexism and Elitism, Berkeley California: Two Riders Press, 1975.
JAKOVINA, Tvrtko, Socijalizam na američkoj pšenici: (1948-1963), Zagreb: Matica
hrvatska, 2002.
JAMBREŠIĆ KIRIN, Renata, ”Moderne vestalke u kulturi pamćenja Drugog
svjetskog rata”, in Dom i svijet, (ed.) Sandra PRLENDA, Zagreb: Centar za ženske
studije, 2008, 19–54.
JAMBREŠIĆ KIRIN, Renata,”Žene u formativnom socijalizmu”. in Refleksije
vremena 1945. – 1955. (ed.) Jasmina Bavoljak, Zagreb: Galerija Klovićevi dvori,
2012, 182–201.
JAMBREŠIĆ KIRIN, Renata, BLAGAIĆ, Marina, „The Ambivalence of Socialist
Working Women’s Heritage: a Case Study of the Jugoplastika Factory“, Narodna
umjetnost 50/ 2013, 47-73.
JARVIE, Ian Charles, Towards a Sociology of the Cinema - a Comparative Essay on the
Structure and Functioning of a Major Entertainment Industry, London: Routledge and
Kegan Paul, 1970.
KELNER Daglas, Medijska kultura, Beograd: Clio, 2004.
JANJETOVIĆ, Zoran, Od ,,Internacionale“ do komercijale: Popularna kultura u
Jugoslaviji 1945–1991, Beograd: Institut za noviju istoriju Srbije, 2011.
JOVANOVIĆ, Nebojša, „Gender and Sexuality in the Classical Yugoslav Cinema,
1947-1962“, PhD dissertation, Central European University Department of Gender
Studies Budapest, 2014.
KRASNIEWICZ, Louise, “Round up the Usual Suspects: Anthropology goes to the
Movies“, Expedition 48 (1)/ 2006, 8-14.
JOVIĆ, Dejan, Jugoslavija- država koja je odumrla. Uspon, kriza i pad Četvrte
Jugoslavije, Zagreb: Prometej i Beograd: Samizdat B92, 2003.
KAZER, Karl, Porodica i srodstvo na Balkanu, Analiza jedne kulture koja nestaje,
Beograd: Udruženje za društvenu istoriju, 2002.
KIRN, Gal, “Crni talas kao umjetnički izraz ‘Praxisa’?“, in Praxis : društvena kritika i
humanistički socijalizam : zbornik radova sa Međunarodne konferencije o jugoslavenskoj
ljevici: Praxis-filozofija i Korčulanska ljetna škola (1963-1974), (eds.) Dragomir
OLUJIĆ OLUJA, Krunoslav STOJAKOVIĆ, Beograd: Rosa Luxemburg Stiftung,
2012, 250-260.
KIRN, Gal, „Klasne borbe u socijalističkoj Jugoslaviji“, http://tclinija.net/klasneborbe-u-socijalistickoj-jugoslaviji/ (17. 05. 2017).
KOPRIVNJAK, Vjekoslav, „Uvodnik u temat“, Žena, 4–5/ 1980, 6–15.
KUK, Dejvid A., Istorija filma II, Beograd: Clio, 2007.
KULJIĆ, Todor, “Jugoslovensko radničko samoupravljanje”, http://eipcp.net/
transversal/0805/kuljic/sr (30.05. 2017).
KULJIĆ, Todor, TITO-sociološkoistorijska studija, Zrenjanin: Gradska narodna
biblioteka “Žarko Zrenjanin”, 2004.
LATIFIĆ, Ibrahim, JUGOSLAVIJA 1945-1990 (razvoj privrede i društvenih
djelatnosti). http://www.znaci.net/00001/120.htm (15. 05. 2017).
LAZIĆ, Mladen, Promene i otpori - Srbija u transformacijskim procesima, Beograd:
Filip Višnjić, 2005.
LIM, Antonjin, LIM, Mira, Najvažnija umetnost - Istočnoevropski film u dvadesetom
veku, Beograd: Clio, 2006.
MALEŠEVIĆ, Miroslava, “Iskušenja socijalističkog raja – refleksije konzumerističkog
društva u jugoslovenskom filmu 60-ih godina XX veka”, Glasnik Etnografskog
instituta SANU 57(2)/ 2012, 107–123.
MARKOVIĆ, Predrag, Beograd između Istoka i Zapada, 1948-1965, Beograd:
Službeni list SRJ, 1996.
MILIĆ, Anđelka, „Promene društveno-ekonomskih obeležja domaćinstava“, in
Domaćinstvo porodica i brak u Jugoslaviji: društveno-kulturni, ekonomski i demografski
aspekti promene porodične organizacije, (eds.) Anđelka MILIĆ, Eva BERKOVIĆ,
Ruža PETROVIĆ, Beograd: Institut za sociološka istraživanja Filozofskog fakulteta,
1981, 19-76.
MILIĆ, Anđelka, „Preobražaj srodničkog sastava porodice i položaj članova“, in
Domaćinstvo porodica i brak u Jugoslaviji: društveno-kulturni, ekonomski i demografski
aspekti promene porodične organizacije, Anđelka MILIĆ, Eva BERKOVIĆ, Ruža
PETROVIĆ (eds.), Beograd: Institut za sociološka istraživanja Filozofskog fakulteta,
1981, 135-168.
MILORADOVIĆ, Goran, “Lica u tami. Društveni profil filmskih cenzora u
Jugoslaviji 1945-1955”, Godišnjak za društvenu istoriju, XI (2-3)/2004, 101-122.
MILORADOVIĆ, Goran, Lepota pod nadzorom : sovjetski kulturni uticaji u Jugoslaviji
: 1945-1955, Beograd: Institut za savremenu istoriju, 2012.
MITROVIĆ, Mitra, Položaj žene u savremenom svetu, Beograd: Narodna knjiga, 1960.
PANTELIĆ, Ivana, Partizanke kao građanke. Društvena emancipacija partizanki u
Srbiji 1945–1953, Beograd: ISI i Evoluta, 2011.
PATTERSON, Patrick Hyder, Brought and Sold: Living and Losing the Good Life in
Socialist Yugoslavia, Ithaca, United States: Cornell University Press, 2011.
PETROVIĆ, Jelena, „Društveno-političke paradigme prvog talasa jugoslovenskih
feminizama“, ProFemina, 2/ 2011, 59-80.
PETROVIĆ, Tanja, Yuropa – Jugoslovensko nasleđe i politike budućnosti u
postjugoslovenskim društvima, Beograd: Fabrika knjiga, 2012.
104
105
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
PETROVIĆ-TODOSIJEVIĆ, Sanja, „Analiza rada ustanova za brigu o majkama
i deci na primeru rada jaslica u FNRJ”, in Žene i deca - Srbija u modernizacijskim
procesima XIX i XX veka, (ed.) Latinka PEROVIĆ, Beograd: Helsinški odbor za
ljudska prava u Srbiji, 2006, 176-187.
POWDERMAKER, Hortense, Hollywood: The Dream Factory. An Anthropologist
Looks at the Movie Makers, London: Secker & Warburg, 1951.
SENJKOVIĆ, Reana, Izgubljeno u prijenosu: pop iskustvo soc kulture, Zagreb: institut
za etnologiju i fokloristiku, 2008.
SKELVICKY, Lydia, Konji, žene, ratovi, Zagreb: Druga - Ženska infoteka, 1996.
STOJAKOVIĆ Gordana, „Antifašistički front žena Jugoslavije (AFŽ) 1946–1953:
pogled kroz AFŽ štampu“, In: Rod i levica, (ed.) Lidija VASILJEVIĆ, Beograd:
Ženski informaciono-dokumentacioni trening centar (ŽINDOK), 2012, 13-39.
STOJAKOVIĆ, Gordana, Rodna perspektiva novina Antifašističkog fronta žena (19451953), Novi Sad: Zavod za ravnopravnost polova, 2012.
SUVIN, Darko, SAMO JEDNOM SE LJUBI. Radiografija SFR Jugoslavije, 1945.-72.
Uz hipoteze o početku, kraju i suštini, Beograd: Rosa Luxemburg Stiftung, 2014.
ŠAKIĆ, Tomislav, „Hrvatski film klasičnoga razdoblja: Ideologizirani filmski diskurz
i modeli otklona“, Hrvatski filmski ljetopis 38/ 2004, 6–34.
ŠAKIĆ, Tomislav, „Filmski svijet Veljka Bulajića: poprište susreta kolektivnog i
privatnog“, Hrvatski filmski ljetopis 57-58/ 2009, 14-26.
TAYLOR, Richard at al., The BFI Companion to Eastern European and Russian
Cinema, London: British Film Institute, 2008.
TODOROVIĆ-UZELAC, Neda, Ženska štampa i kultura ženstvenosti, Beograd:
Naučna knjiga, 1987.
TURKOVIĆ, Hrvoje, Filmska opredjeljenja, Zagreb: Meandar, 1985.
UNKOVSKI-KORICA, Vladimir, „Jugoslovensko samoupravljanje: upravljanje
radništva ili upravljanje radništvom?“, in E-zbornik: Nasleđe jugoslavenskog socijalizma.
Promišljanje. Razgovor. Rasprava. Kritika, (eds.) Marijana STOJČIĆ, Dragomir
OLUJIĆ, Beograd: Forum za primenjenu istoriju, 2014. no longer available.
VIDMAR-HORVAT Ksenija, Imaginarna majka – Rod i nacionalizam u kulturi
20. stoljeća, Zagreb: Sandorf i Ljubljana: Znanstvena založba Filozofske fakultete
Univerze v Ljubljani, 2017.
VUČETIĆ, Radina, Koka-kola socijalizam. Amerikanizacija jugoslovenske popularne
kulture šezdesetih godina XX veka, Beograd: Službeni glasnik, 2012.
WALBY, Sylvia, Theorizing Patriarchy, Oxford: Blackwell, 1990.
ZVIJER, Nemanja, „Koncept neprijatelja u filmovanim ofanzivama – Prilog
sociološkoj analizi filma”, Sociološki pregled, XLIV (3)/ 2010, 419–437.
ZVIJER, Nemanja, „Ideologija i vrednosti u jugoslovenskom ratnom spektaklu:
prilog sociološkoj analizi filma na primeru Bitke na Neretvi Veljka Bulajića“, in
Hrvatski filmski ljetopis 57-58/ 2009, 27-40.
Žena u privredi i društvu SFR Jugoslavije, osnovni pokazatelji, Beograd: Savezni zavod
za statistiku, 1975.
106
Marijana STOJČIĆ - Nađa DUHAČEK
From Partisans to Housewives: Representation of Women in Yugoslav Cinema
FILMOGRAPHY
Živjeće ovaj narod / This people Shall Live
1947, Jadran Film (Zagreb)
D. Nikola Popović, s. Branko Ćopić. Cast: Vera Ilić-Djukić, Fran Novaković,
Milica-Carka Jovanović, Siniša Ravasi, Nikola Popović, etc. https://www.youtube.
com/watch?v=jya4VQQPRCc (03.05. 2017)
Priča o fabrici / Story of a Factory
1949, Zvezda Film (Belgrade). D/c. Vladimir Pogačić. Cast: Marija Crnobori,
Strahinja Petrović, Ljubisa Jovanović, Tito Strozzi, Ksenija Jovanovic, etc.
Ljubav i moda / Love and Fashion
1960, Avala Film (Belgrade). D. Ljubomir Radičević, s. Nenad Jovičić, Ljubomir
Radičević. Cast: Beba Lončar, Dušan Bulajić, Mija Aleksić, Miodrag PetrovićČkalja, etc.
Abeceda straha / Alphabet of Fear
1961, Jadran Film (Zagreb). D. Fadil Hadžić, s. Fadil Hadžić, Fedor Vidas. Cast: Vesna
Bojanić, Josip Zappalorto, Nada Kasapić, Tatjana Beljakova, Tatjana Beljakova, Maks
Furijan, Jasenka Kodrnja, etc. https://www.youtube.com/watch?v=zD6yHKILHgE
(12. 04. 2017)
Muškarci: juče, danas i... / Men – yesterday, today and…
1963, Lovćen Film (Budva). D. Milo Đukanović, s. Miroslav Milovanović,
Julija Najman. Cast: Olivera Marković, Slobodan Perović, Mija Aleksić, Jelena
Žigon, Velimir Bata Živojinović, etc. https://www.youtube.com/watch?v=Vlve_
ln1tl8&t=462s (03. 05. 2017)
Bitka na Neretvi / The Battle of Neretva
1969, Bosna Film (Sarajevo), Jadran Film (Zagreb), Eichberg Film (Munich),
Commonwealth United Entertainment (London – New York), etc. D. Veljko Bulajić,
s. Stevan Bulajić, Ratko Djurović. Cast: Lojze Rozman, Sylva Kosćina, Ljubiša
Samardžić, Velimir ‘Bata’ Živojinović, Milena Dravić, etc. https://www.youtube.
com/watch?v=WDyNOLU7Yuc (11. 05. 2017).
107
�Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
Sažetak
OD PARTIZANKI DO DOMAĆICA: PREDSTAVLJANJE ŽENA U
JUGOSLAVENSKOM FILMU
Marijana STOJČIĆ – Nađa DUHAČEK
Ovaj rad analizira načine na koje se predstavljanje žena promijenilo
od partizanki kao revolucionarnih tema, do kućanica i potrošačica u kasnim
60tim godinama. Ova je promjena vezana uz društveno-političke promjene
u jugoslavenskom kontekstu i uz napuštanje ideje ženske emancipacije koja
je osmišljena i prihvaćena tijekom i nakon rata. Naime, partizanska borba za
oslobađanje od nacističke okupacije te socijalistička revolucija dva su temeljna
mita Socijalističke Jugoslavije. Žene su igrale aktivne uloge u toj borbi, kao
borci ali i daleko od borbenih linija (logistička podrška, špijuniranje, liječenje
i dr.). Također, jednakost između muškaraca i žena je bio važan segment
službene ideologije države. Ovi su se narativi kasnije i zabilježili u kolektivnoj
memoriji kroz književnost, film, glazbu i stripove.
U našem radu istražujemo pet načina prikazivanja ženstvenosti u
jugoslavenskom filmu: (1) partizanka, (2) žena u pozadini, (3) suradnica, (4)
radnica i (5) domaćica, kako bi prikazali načine na koje predstavljanje žena
između 1947. i kasnih 60tih korespondira službenoj politici emancipacije te
na koji način ovi prikazi korespondiraju svakodnevici tog vremena. Nadalje,
ovo predstavlja analizu filma sagledanog kao skup priča koje su jugoslavenski
muškarci i žene sami iznosili o sebi. Ovakav pristup ima potencijal ukazati na
antagonizme unutar društvenog konteksta u kojem su ovi filmovi nastajali,
tako što naglašava nedostižne ideala slobode i emancipacije. Istovremeno, cilj
ove analize nije samo otvoriti još jedan vid istraživanja prošlosti, već također
ponovno razmotriti emacipacijski potencijal kojeg ovakvo istraživanja pruža
danas.
108
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Istraživački radovi
Dokument
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
From Partisans to Housewives: Representation of
Women in Yugoslav Cinema - Marijana Stojčić, Nađa Duhaček
Creator
An entity primarily responsible for making the resource
Marijana Stojčić, Nađa Duhaček
Source
A related resource from which the described resource is derived
https://www.academia.edu/38370100/FROM_PARTISANS_TO_HOUSEWIVES_REPRESENTATION_OF_WOMEN_IN_YUGOSLAV_CINEMA?email_work_card=title
Publisher
An entity responsible for making the resource available
Udruženje za kulturu i umjetnost Crvena
Časopis za povijest Zapadne Hrvatske
Date
A point or period of time associated with an event in the lifecycle of the resource
2016.
Rights
Information about rights held in and over the resource
Časopis za povijest Zapadne Hrvatske, XI./11., 2016.
Revolutions and revolutionaries: from the gender perspective
Format
The file format, physical medium, or dimensions of the resource
PDF
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
21 - IR
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
40 pages
Description
An account of the resource
Ovaj rad analizira načine na koje se predstavljanje žena promijenilo od partizanki kao revolucionarnih tema, do kućanica i potrošačica u kasnim 60tim godinama. Ova je promjena vezana uz društveno-političke promjene u jugoslavenskom kontekstu i uz napuštanje ideje ženske emancipacije koja je osmišljena i prihvaćena tijekom i nakon rata. Naime, partizanska borba za oslobađanje od nacističke okupacije te socijalistička revolucija dva su temeljna mita Socijalističke Jugoslavije. Žene su igrale aktivne uloge u toj borbi, kao borci ali i daleko od borbenih linija (logistička podrška, špijuniranje, liječenje i dr.). Također, jednakost između muškaraca i žena je bio važan segment službene ideologije države. Ovi su se narativi kasnije i zabilježili u kolektivnoj memoriji kroz književnost, film, glazbu i stripove. U našem radu istražujemo pet načina prikazivanja ženstvenosti u jugoslavenskom filmu: (1) partizanka, (2) žena u pozadini, (3) suradnica, (4) radnica i (5) domaćica, kako bi prikazali načine na koje predstavljanje žena između 1947. i kasnih 60tih korespondira službenoj politici emancipacije te na koji način ovi prikazi korespondiraju svakodnevici tog vremena. Nadalje, ovo predstavlja analizu filma sagledanog kao skup priča koje su jugoslavenski
muškarci i žene sami iznosili o sebi. Ovakav pristup ima potencijal ukazati na antagonizme unutar društvenog konteksta u kojem su ovi filmovi nastajali, tako što naglašava nedostižne ideala slobode i emancipacije. Istovremeno, cilj ove analize nije samo otvoriti još jedan vid istraživanja prošlosti, već također ponovno razmotriti emacipacijski potencijal kojeg ovakvo istraživanja pruža danas.
film
Gender
representation
socialism
woman
Yugoslavia