za koje se nikad prije nije ulo, sve te opcije koje ti ima, low fat, no fat, i sve se zapravo promijenilo,

da. M. T.: U tvojoj generaciji, oni koji osnivaju porodice, da li se vezuju za tradicionalnu kuhinju, ili pokuavaju da nau neku novu formu? Ili se pak vezuju za porodinu ishranu, tu malo tradicionalniju, jer je to, na neki nain, pokuaj da se ta zajednica nekako zatiti, opstane... M. B.: Ne znam. Ja se druim s ljudima koji su vie-manje iz kulture, i svi su veoma kreativni u kuhanju. J. P.: Da li kuva neko neto od tih tradicionalnih jela? M. B.: Da, kako da ne, da. Evo sad smo neto radili, artioke na dalmatinski, super recept. M. T.: Kako to ide? M. B.: To su artioci. Ree im se ona njihova stabljika da oni mogu ovako lijepo sjest na dno padele i pune se smjesom od mrvica, krunih mrvica, enjaka, luka... M. T.: Maslinovog ulja... M. B.: Vegete, soli, papra. Ti cvjetovi, raire im se listovi i napune se tom nekom smjesom, postave se u dno padele i kuhaju se zajedno s bobom i s mladim krumpirom.

Maja Bogojevi

THE BEAUTY OF GENDER SIN: POLITICS OF REPRESENTATION IN YUGOSLAV AUTEUR FILM

Seeing is the prototype of knowing (Braidotti 2006: 85) Some differences are playful; some are poles of world historical systems of domination. Epistemology is about knowing the difference. (Haraway 1991: 157)

Gender difference and politics of re-presentation Socialist feminist criticism has emphasized the signicance of the relationship between female subjectivity and class identity, and has redened differences relating not only to sexual but also racial, economic, and cultural categories of analysis (De Lauretis 1987: 14). Sexual difference serves, as a paradigm permitted by patriarchal global consesus, as an excuse for, not only subordination of women, but also for all other forms of exclusion, exploitation and repression. These are achieved by historical process of naturalisaton, essentialisation of a subordinated member of dichotomy which shows itself, from the beginning and in abstract ways, as symmetrical (Ivekovic 2000: 10). Thus, sex difference has always historically sexualized all other differences and relations in a society, and the mystery of its permanent success and persistance lies in its portrayal of this difference as natural and therefore, unchangeable (ibid.). In the immediate post-World War 2 period, Yugoslav socialist system and its artistic products worked on reconciling the heritage of traditional culture with the ideology of gender equality, united in the ideal of new man, before these emancipatory processes produced a moral panic, entailing re-domestication of women in the predominantly rural and patriarchal society. Film, thus, became not only a propaganda weapon, as in the earlier period, but a heuristic procedure which conveys the collective national feeling.
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After the sporadic lm productions between the two World Wars on the territories belonging to Socialist Federal Republic of Yugoslavia from 1945 to 1991, centralised production characterised the period until 1965, when the economic reform de-centralised lm production and moved it to the republic level. This reform coincides with the emergence of black lm, a phrase more adequately applied to a series of lm scandals occurring on the axis of lm state apparatus, than truly permanently forbidden works. 1967 can be called the triumph of Yugoslav lm, marking the beginning of Yugoslav national lm school, but also the introduction of structuralist approach in lm criticism, which replaced a more impressionist trend theretofore. Many lm-makers and critics, however, agree that the period 1960-1969 represents a turning point in Yugoslav lm history, marking the emergence of new lm (Munitic 1967; Novakovic 1967). Most of these critics also agree that the heretofore stable patriarchal world begins to disintegrate with new lm. The new wave of Yugoslav lms became synonymous with modernity, more in an aesthetic than historical sense given to this phrase in Yugoslav lm circles. However, in spite of this (partial) visual subversion, it represented a supplement to the mainstream national cinematic discourse, rather than an example of counter-cinema. Whereas in France, the emergence of nouvelle vague was preceded by a new generation of public discourse, inclusive of women1, such was not the case in Yugoslavia. The new lm generation was a complete male phenomenon, with the exception of Soja Jovanovic. Female idols, both as lm authors or as ctional characters, therefore, did not seem to exist or were rare, in comparison to great numbers of male heroes, both on the screen and behind the cameras. Feminist lm theories are, therefore, crucial in explaining the relation between the dominant ideology and gender in the Yugoslav lm-making. Feminist lm theories have de-constructed and re-constructed, re-developed and re-shaped the existing lm theory, without Yugoslav lm criticism taking notice of it. Film, specically, has an ideological power as an apparatus which relies on the mechanisms of identication and sexual fantasy which we all seem to participate in. If ideology is effective, it is because it works at the most rudimentary levels of psychic identity and the drives. (Rose 2005: 5) More specically, cinema has power to construct, in uniting fantasy with documentary authenticity and, as Haskell (1987) posits, in an immediacy which gives an illusion of reality, quite unlike the metaphorical images produced by literature and other art forms, the images of patriarchal ideology or male fantasy. Film also has the capacity to naturalise these constructions through the role of the female star who embodies these images. The structure of the look is one of the most important elements in dening visual pleasure. According to Mulvey (1975), lm narrative is made for the pleasure of the male spectator alone, who indirectly possesses the female through the look, or rather a series of looks created by the camera, the male stars gaze, and the spectators own gaze.
1 E.g. the appearance of Franoise Sagans Bonjour Tristesse in 1954, then aged only 18, and of the phenomenon B.B. after the release of Et Dieu cra la femme in 1956, as well as Sylvie Vartan and Francoise Hardys songs (Sellier 2005: 13)
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Men do not simply look; their gaze carries with it the power of action and of possession which is lacking in the female gaze. Female characters are reduced by a male enunciation to a fantasist projection of traditional docile-virgin/sexual object dichotomy. As the female protagonist is simultaneously moral and amoral, proper and seductive, the uncertainty of the narrative is maintained along with the duality whore/mother in Yugoslav so-called black lm. The prostitute body, particularly, offers a visual image for progressive cinema, while the maternal character represents traditional values, i.e. the prostitute body becomes an object for the male gaze and viewing pleasure. Yugoslav auteur lm approaches socio-national themes in a highly gendered mode, contrary to earlier propagandist lms which systematically effaced gender for the sake of class (communist, patriarchal) struggle. If Yugoslav women are not presented as a new personication of the eternal feminine or fetishized femmes fatales for the masculine hero, they frequently convey the alienation of mass culture, are members of a higher class reecting the lm-makers obsession with a high-class woman (e.g. Morning, Sand Castle, Rondo, R. Grlics and L. Zafranovics lms etc.); come from a foreign, preferably Western country, representing the desired other and imaginary route of escape (S. Karanovics, M. Radivojevics, and later Z. Nikolics lms); or come from low, marginal social layers (Z. Pavlovics and most so-called black wave works, but also G. Paskaljevics, G. Markovics lms etc.). The female character is re-located to the traditional place destined for women not as the subject of narrative or discourse, but as the object of love and/or hatred by a masculine subject. Women are symbolic victims of misogyny or are literally imprisoned and physically conned. As the symbolical female is absent in the relationship between men and women, dominated by only one sex male, cinematic representations result in relations of abuse, torture, rape and violence. Silence, political passivity and subsequent culpabilization of women are systematically shown. Women are rarely present and if they are, it is only to display their bodies, as prostitutes, or play the roles of silent, obedient mothers, wives or sisters, uninterested in politics or in the reality surrounding them. Such reductive representation of female gender is reinforced by visually coded spectacle serving for fetishization of sexualized bodies and sadistic voyeurism of degradation and rape of female bodies. As the site of the menacing other (Spivak 1987), woman is objectied and turned into an enemy that must be destroyed. The destroyer is different in each lm and makes pragmatic use of the ideological weapon as it suits him: political military, medical authority, projected male masochism, emotional and physical death, murder by the new revolutionary authority of the state apparatus as an act of settling the accounts with the ideological enemy etc. Consequently, rape is not viewed as a violent gender/ sexual conict between victim and attacker but as emblematic of a class rebellion (most explicitely conveyed by the character Jugoslava, in Zelimir Zilniks highly controversial Rani Radovi, 1969). Rape is one the most frequent motifs of Yugoslav cinema at the end of the 1960s; the main types of women mother in black, prostitute/singer, raped girl, have
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been elaborated both in Yugoslav war lms and those dealing with contemporary themes. We can observe similar typology in the already mentioned lms of Zivojin Pavlovic and in many others, with less artistic value. In the portrayal of women, there was no signicant difference between ideologically correct lms and black wave, which was attacked by the state apparatus, forbidden or prevented by reduction of nances. (Slapsak 2000: 135)

Sites of potential resistance: possibility of female gaze?

Female gaze as the expression of female desire is always perceived as a dangerous, if not deadly, thing (Braidotti 2006: 88)

As the dominant culture is deeply committed to myths of demarcated sex differences, called masculine and feminine, these concepts rely, rst, on a complex gaze apparatus and, second, on dominance-submission patterns. In lms exclusively made by men, the woman is as the male authors see her. Such lms rest almost entirely on the re-presentation of female characters. They are women, not only made by men, they are made for men2. But, can the concept of fetishistic scopophilia which binds the female into an oppresive position of to-be-looked-at-ness be revised? Or is a female fetish always reassuring rather than dangerous (Mulvey 1975: 14)? Can a female character in male-authored narrative cinema return the gaze and act upon it? As cultural imperatives dictate a direct correspondence between biological sex and subject-position, any deviation from such imperatives would make, in Kuhns (1988) terms, a site of potential resistance to sexual difference. Such deviation can be perceived to occur in the lms of Srdjan Karanovic and Zivko Nikolic. In Petrijas Wreath (Petrijin venac, 1980), for example, Karanovics choice of the female narrator and the uctuating gaze, positioned so as to convey the shifting nature of gender relations, strengthens the emancipatory potential of the lms heroine, as the narrative progresses: because of the narrative proced, the spectator is always an accomplice of Petrija. As she tells the story of her life, the viewer is invited to follow Petrijas development into an active heroine. She dares the spectator not only through her verbal account which encourages his/her identication and sympathy with her, but also through her triumphant returning of the gaze her direct look at the camera in the nal scene of the lm. In Something In-Between (Nesto izmedju, 1982), on the other hand, the uctuating gaze conveys more complex shifting gender relations along not only the axis of patriarchy/ emancipation, but also along the axis of national-domestic/foreign-the other. Although Eva is the exoticised occidentalized other in the socialist Yugoslavia, she remains the other of the other, as the source of both fear and fascination for the patriarchal male norm. However, the relation between the author and his male characters
2 Pierre Kast, quoted in Sellier (2005: 156); my translation.
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is more ambivalent than in a typical Yugoslav new lm: the viewer is divided between feelings of sympathy for the heroes who resemble him and disgust for their cynicism and cowardice. In lms usually constructed around the male point of view, where female characters are only objects of mens domination and misogyny, Karanovics female protagonists demonstrate a possibility of de-objectication of women, through their, even if only occasional, possession of gaze. Similarly to Karanovic, Zivko Nikolic returns to rural geography and culture, which enables him to employ other strategic possibilities during the growing crisis of lm production in Montenegro and Yugoslavia in the 1980s. The common theme of most Nikolics lms is his protagonists inner tensions which reect a conict between personal psychological needs and public patriarchal constraints. The plot twist usually coincides with the womans repossesion of the gaze in the highly patriarchal local setting. Such authorial cinematic gaze on female gender dees the traditionally established gender classications and has a powerful impact of its social critique on the local context. The most consistent and simultaneously controversial feature of Nikolics lms is his representation of women who embark on their journey of liberation, symbolically, and of their gaze-repossesion, cinematically, and who, empowered by the sexual difference, self-consciously take pleasure in celebrating their body of the other (Lukas Jovana, Unseen Wonder, and particularly The Beauty of Sin). Nikolics works suggest the possibility of a mode of spectatorship in a reversed masquerade, which produces the possibility of alternative identities. To elaborate on a challenging model of the male gaze on patriarchy, the concept of reversed masquerade is particularly useful. The director uses visual and linguistic signs to underscore patriarchal attitudes, not only of men, but also of elderly women, who appropriated such attitudes from their fathers and, later, husbands. Nikolics female characters reverse Rivires notion of feminine masquerade (1986) and, as such, cannot bear any signication of female subjectivity. Their entrance into the collective sphere depends on the effacement of any feminine qualities: the female nudist resort manager is the representative of communist masquerade for manliness; androgynous looking moustached mothers and grandmothers, almost regularly dressed in black (babe), cast the sadistic voyeuristic gaze on both men and women. Contrary to Rivires concept of excessive womanliness, the local female characters use traditional masculinity as a mask disguising and effacing their feminity. By doing this, they precisely accentuate their masculine side and engender a masqueraded indentity as neither a man nor a woman. These reversely masqueraded heroines are portrayed with more distortions and as being more cruel than their male counterparts. In such a perspective of masqueraded identities, there are no heroic saviours in Nikolics lms and here lies his main subversion of the Montenegrin myth of manhood and heroism (cojstvo i junastvo). All his male characters are a reversal of this myth. They are rather presented as conicted gures who consciously (as representatives of the dominant ideologies) or unconsciously (as members of the rural com259 ProFemina leto/jesen 2011.

munity) cowardly enact traditional ethical standards. Whereas other Yugoslav mainstream narratives expose socially oppressed classes, focusing on women in particular as primitive materials (Herzfeld 2004), in Nikolics work, it is both women and men who are seen as primitive materials. Foregrounding comic effects of the Bakhtinian concept of carnivalised folklore tradition, Nikolic succeeds in reaching the wider audiences, both domestic and international, and in reconciling the commercial with the antropological, which was his personal aim, stated on many occasions (see Jelusic & Jelusic 2006). His gaze shift shows that the active-male/passive-female dichotomy is not only reversible, but that a male character can also undergo a transformation. However, the originality of Nikolics perspective lies precisely in his depiction of gender relations that do appear as the direct product of a patriarchal structure, and not only of socio-political power relations, and in his subsequent critique of such structures of domination and subordination: without reserve or distancing techniques, he displays and confronts these patriarchal structures. The Beauty of Sin (Lepota poroka, 1986), which stands out by its critical acclaim and popular success both in Yugoslavia and abroad, begins with tragedy. The lm prologue, shot with documentarist precision, shows a distressed woman dressed in traditional folkloric clothes, sometime in the past, in the rocky mountains of Montenegro, facing her returning husband, who discovers her adultery. While her lover escapes, she admits to her husband that she has sinned. Then, knowing what destiny befalls her, she starts silently baking a at loaf of bread. After she removes her wedding ring, she hands a mallet to her husband, as they climb the steep mountains. Once on the top of one of the hills, she places the loaf on her head and her husband murders her by hitting her breaded head with the mallet. This prologue, shot with an ethnographers gaze and an ironic distance, is simultaneously the directors commentary on the traditional ritual of punishing adulterous women in the rural Balkan areas. Nikolics gender strategy is revelatory in his portrayal of rural male and female characters. The director reveals the cinematic mechanisms of gaze: while mens eyes are spared physical obstacles and are free to look and see/know, they remain victims of their own voyeuristic and objectifying desires, and prisoners of the traditional norms and patriarchal connes imposed on both them and their wives. In spite of being endowed with physical sight, they fail to see and, therefore, are incapable of knowing the world before their eyes. Women, on the other hand, additionally to their symbolic subordination, are physically conned and abused by the rules that do not permit them to physically see, or by imposing on them physically unbearable working conditions that impair their eye sight. Combining both female and male gaze, the director equates the act of seeing with knowing. A clear instance of the directorial omniscient gaze, its originality lies, however, in its subversion of the directors omniscient gaze, when it is subtly transferred to the female protagonist (Jaglika). When she removes the veil over her eyes, she starts to daringly touch and caress her husbands body. Jaglika decides to stop making love to Luka, unless she can see his body, her body, their faces.
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Female sexuality evokes male desire and subsequent punishment for the transgression, as The Beauty of Sin conveys this in its very title. Through his cinematic representation and psychologically complex portrayal of female transgressivity, Nikolic most effectively subverts the perspective of the male gaze, focused on the woman as spectacle, and asserts that the emancipatory process of local, and by extension of all rural patriarchal women, must begin with their sexual self-discovery, which might lead to social, political and ontological female liberation.

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Dubravka uri
LITERATURE
Braidotti, Rose (2005/2006). Mothers, monsters and machines. In Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. Reprinted in Utrecht Noise School Reader: Transforming Gender and Power. Universiteit Utrecht, 8597. Haraway, Donna (1991). Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge. Herzfeld, Michael (2004). Kulturna intimnost: socijalna poetika u nacionalnoj dravi. Trans. Slobodanka Glii. Belgrade: XX vek. Ivekovi, Rada (2000). (Ne)predstavljivost enskog u simbolikoj ekonomiji: ene, nacija i rat nakon 1989. godine. In Arsi, Branka (ed.), ene, slike, izmiljaji. Beograd: Centar za enske studije, 931. Jelui, Mato & Boena Jelui (2006) Iskuavanje lma: ivko Nikoli i njegovo lmsko djelo. Podgorica: Zavod za udbenike i nastavna sredstva & Budva: Argonaut. Kuhn, Annette (1988). The body and cinema: some problems for feminism. In Sheridan, Susan (ed.), Grafts: Feminist Cultural Criticism, London: Verso, 1123. Lauretis, Teresa de (1987). Technologies of Gender: Essays on Theory, Film, and Fiction. Bloomington: Indiana Univ. Press. Mulvey, Laura (1975). Visual pleasure and narrative cinema. Screen 16(3) (Autumn): 618. Muniti, Ranko (1967). Jugoslavenski autorski lm. Filmska kultura 5556: 2331. Novakovi, Slobodan (1967). Autori: dramaturke beleke. Filmska kultura 5556: 4859. Rose, Jacqueline (2005). Sexuality in the Field of Vision. London & New York: Verso. Sellier, Genevive (2005). La Nouvelle Vague: un cinma au masculine singulier. Paris: CNRS Editions. Slapak, Svetlana (2000). ensko telo u jugoslovenskom lmu: status ene, paradigma feminizma. In Arsi, Branka (ed.), ene, slike, izmiljaji. Beograd: Centar za enske studije, 121137. --- (2002). Idenitities under threat on the Eastern borders. In Grifn, G.and R. Braidotti (eds.), Thinking Differently: A Reader in European Womens Studies. London & New York: Zed Books, 145158. Spivak, Gayatri Chakravorty (1987). In Other Worlds: Essays in Cultural Politics. London: Routledge.

FEMINISTIKI I ENSKI ASOPISI U POSTJUGOSLOVENSKIM KULTURAMA

Postjugoslovenske komparativne studije1 ini se opravdanim baviti se postjugoslovenskom komparativistikom, posebno postjugoslovenskim slovenskim kulturama (slovenakom, hrvatskom, bosanskohercegovakom, srpskom, crnogorskom i makedonskom) da bi se uporedilo na koji nain se neke globalne tendencije u njima implementiraju.2 Ovo je zanimljivo posebno zbog toga to novoosnovane drave dele zajedniku prolost u zajednikoj dravi, koja se 1991. raspala.3 U skladu s prethodnom napomenom, ovim tekstom elim mapirati feministike i enske asopise osnovane nakon raspada SFRJ. Poduhvat nema ambicije da bude iscrpan, ali nadam se da e moj tekst otvoriti put nekim buduim iscrpnijim uporednim istraivanjima feministikih asopisa postjugoslovenskih kultura. Najpre bih rekla da se, kao i u celoj bivoj Istonoj Evropi nakon pada Berlinskog zida, devedesetih godina 20. stolea ponovo vraa interesovanje za feminizam. Ono je potpomognuto zapadnim fondacijama, pre svega amerikim Sorosom (kasnije preimenovanim u Fond za otvoreno drutvo), ali i evropskim, poput vedske Kvinna Till Kvinna ili nemake fondacije Heinrich Bell, vajcarske ProHelvetia, austrijskog KulturKontakta itd. Pomenuti opti trend u postsocijalistikim drutvima bive Istone
1 O postjugoslovenskoj komparativistici videti u tekstu Dubravke uri Teorijsko-interpretativni modeli u postjugoslovenskim pesnikim kulturama, Sarajevske sveske br. 3233, Sarajevo, 2011, str. 333. Dostupno na http://www.sveske.ba/bs/content/teorijsko-interpretativnimodeli-u-postjugoslovenskim-pesnickim-kulturama. Ovde u samo napomenuti da se 1997. ili 1998. u Pritini pojavio feministiki asopis Snga. Podaci o njemu nisu bili dostupni, osim to je uvodni tekst Suzane apriqi iz Snge broj dva objavljen u Feministikim sveskama br. 1112 iz 1998, str. 26. Tekst poinje reenicom Virdinije Vulf ena nema domovinu i ceo je mirovnjaki intoniran. Trauma Jugoslavije je toliko velika i strana da, ako se itaju tekstovi koji izlaze iz sopstvenog nacionalnog konteksta, velika veina autora i autorki mora izriito naglasiti da nije jugonostalgina i da ne eli nikakvu restauraciju Jugoslavije ni u kom smislu i ni u kakvom novom obliku. Opravdanje da se moe baviti kulturama novih drava nastalih posle raspada Jugoslavije daje iri okvir june slavistike, videti temu broja Interkulturno-poredbeno izuavanje knjievnosti, u Sarajevske sveske br. 3233, 2011, str. 77181.
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