Abstract
ABSTRACTThe aim of this study is to reveal how women are represented in the Yugoslav New Film and Black Wave films. I argue that they show a recurring pattern of rape. I interpret a raped woman in Yugoslav films as an allegory of a raped nation. To investigate this motif, I have selected three fiction films, all addressing a short pro-Stalinist phase of Yugoslav history: Lisice/Handcuffs (Krsto Papić 1969), Uloga moje porodice u svjetskoj revoluciji/The Role of my Family in the World Revolution (Bahrudin ‘Bato’ Čengić, 1971), and Doručak sa đavolom/Breakfast with the Devil (Miroslav ‘Mika’ Antić, 1971). In my investigation I will draw on feminist film scholarship as the conceptual framework. Furthermore, I use close reading as the method to explore the movement's oeuvre.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
