Abstract
Yugoslav Black Wave films were famous for their dark aesthetics and political engagement, while also being very critical of the direction that the socialist system was taking. Rather than providing an aesthetic and formal analysis of one of the most prominent films of the Black Wave, Pavlovic’s When I Am Dead and Pale (1967), this chapter is interested in its political and documentary effect. The author argues that this is the first Yugoslav cultural text that openly criticizes “market socialism,” a term which was introduced in 1965. Market reform sharpened existing contradictions, divisions between rural countryside and the city, but also exposed new ones: the typologies of work, and the divide between non-work and work. What can Jimmy Barka, the film’s protagonist and a new Yugoslav anti-hero, tell us about the youth’s integration in the self-managed socialism through the journey of music?
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