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To browse Academia. This dissertation outlines the trajectory of Yugoslavias decline through an examination of select works of Yugoslav cinema from the late s to the late s which cogently commented on their sociopolitical context.
It brings together various interpretive perspectives and utilizes film studies, cultural studies, political history, and postcolonial studies to discuss how the Yugoslav society and its political system are scrutinized through allegory, satire, and genre revisionism, for instance, and to elucidate what the films contribute to discourse on the origins of Yugoslavias violent breakup. Through a discussion of cinema, arguably the most politically subversive form of expression in the Yugoslav public sphere, this dissertation offers insight not only into why the country broke up but also, and perhaps more importantly, into what was lost when it broke up.
Although it revolves around Yugoslavias failure, the dissertation validates the egalitarian, anti-imperialist Yugoslav id Nikica Gilic. Nevena Dakovic. This paper will analyse ways in which representation of women changed from partisans as revolutionary subjects to housewives and consumers in the late 's. This transformation is linked with socio-political 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.