With texts by Ivana Bago, Angela Dimitrakaki, Branislav Dimitrijević, Irmgard Emmelhainz, Rose-Anne Gush, Vesna Kesić, Vedrana Madžar, Antonia Majaca, Jaleh Mansoor, Rruth Noack, Bojana Pejić, Ana Teixeira Pinto, Rasha Salti, Kerstin Stakemeier, Jelena Vesič, Giovanna Zapperi. Contains bibliographic references.
Contents:
Returns of and to Early works / Antonia Majaca -- Comradess fatale: a Trauerspiel / Bojana Pejić -- Nomen est omen: a brief review of the death of the female character in one of the emblematic films of the Yugoslav Black Wave / Vesna Kesić -- The revolution has burned: long live art / Ivana Bago -- Jugoslava and the revolutionary refutation of the revolution / Branislav Dimitrijević -- Early works as the social reproduction of the revolution's failure / Angela Dimitrakaki -- My Jugoslavas in Beirut / Rasha Salti -- Automatons of the revolution / Giovanna Zapperi -- Early works: lessons on militant feminism in state socialism / Irmgard Emmelhainz -- A media history of misogyny / Ana Teixeira Pinto -- Countering the voyeuristic gaze: Jugoslava, homos, fools, and horses / Vedrana Madžar -- Second shots: or, shooting a woman-shooting women / Ruth Noach -- Early works and the problem of mimetic exacerbation of gender violence in young communofeminism / Jaleh Mansoor -- The vanishing of the family in plumes of smoke / Rose-Anne Gush -- Revolution, playing itself: a mannerism / Kerstin Stakemeier -- Burn, baby, burn: the problems of allegory as artistic strategy / Jelena Vesić -- Script: Early works description of the final version / [Želimir Žilnik]
Summary:
Issued in conjunction with the research project, "Feminist takes", a series of conferences and exhibitions that has lasted from 2015 to 2021 (at least) in Germany, the Czech Republic, and other locations under the guidance of Antonia Majaca. "Canonical within the Yugoslav New Film of the late 1960s and the 1970s, Želimir Žilnik's Early Works (1968) follows the female revolutionary Jugoslava as she leaves her lumpenproletariat family to spread the teachings of young Marx and Engels among the peasants and factory workers. The violent responses to this proselytizing mission, which include the rape of Jugoslava and the beating of her three male comrades, invoke the repression of the 1968 student movement in socialist Yugoslavia. The film's allegorical examination of the contradictions of Yugoslav state socialism culminates when Jugoslava becomes the object of her comrades' violence, who shoot her and set her body on fire. This edited volume, a part of Antonia Majaca's ongoing collaborative investigation Feminist Takes, initiates a discussion of the filmic--and historical--fate of Jugoslava and the prospects of revolutionary feminism."--Publisher's website.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.