CEU eTD Collection

ANALY In partial fulfillmentrequirements of the forthedegree ofMastersArts in of YO UTH SES Supervisor: Professor Jasmina Lukić Jasmina Professor Supervisor:

CULTURE Department ofGenderStudies

Central European University OF Jovana Djurovic Budapest, HungaryBudapest,

FILMS Gender Studies Submitted to KLIP 2014 by

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CEU eTD Collection films”. of characters main environment. socialclassed gendered anda deeplyshaped in identities, their illustrate nationalism and heterosexuality, oppressive heteronormativity, inter transition: engaged coming transform films these aesthetic, Yugoslav previous to them coming international famous the of most from them differentiate hand, one the on which, elements documentary include also films these genre, cinematic popular globally as them analyzing explore thesis This Yugoslav tradition. are films which in film’ Serbian interpretation of films, youth of A - BSTRACT age dramas age sections of identity categories of gender, class and sexuality and class gender, of categories identity of sections

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65 64 62 60 57 52 50 48 47 46 44 41 37 31 31 30 2 27 23 20 15 10

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CEU eTD Collection Bibliography Conclusion

4.3. Concluding remarks 4.2. Symbolic violence

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76 72 70 68

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CEU eTD Collection defining 'New Serbian film' see film' 'NewSerbian defining Roš Tilva Gang onwards time that from Ognjenka produced films instan the for all Velisavljević, not category. but the paradigm, to new belong the of beginning the as 2006 from ratnik) from vary category Film the at film studied who Kusturica, Emir Prague. in Academy and Marković, Goran Paskaljević, Goran Karanović, Srđan as such relation with the with relation fr national the question workers’ film channel to it puts Velisavljević Ivan as or 410); (2011, potential” author wide a become has it then since and 2007, counter its is dichotomy new/old implying this whether Or, wave? ‘new’ this preceded which film’ Serbian ‘old anti dominant of question post the with Serbian “conflicting” a is cultural it put, critics, Simply processes. these of resist strongly groups institutions, and some organizations whereas production; cultural contemporary and heritage national to need great a is there hand, one the On complicated. best, film Serbian with situation Nowadays’ ‘ of term unique 419). (2011, heritage cinematographic Yugoslav the with 5 4 3

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CEU eTD Collection from the margins of the society, and looking for bizarre, violent, erotic and pornographic elements (2011, 52). (2011, elements andpornographic erotic violent, bizarre, for looking society, the of margins and the from a poetics; documentary and featured of the of standards stylistic and production the from distancing fundamental features: they currently “belongthey (Ibid.). currently to” contexts cultural and political, social, the by or heritage, Yugoslav the by influenced more are they whether and cinematographies, new the for had separation the consequences what question the of aim the sense, that In 19). (2011, on time that from started have states new lives political separate the with accordance in separately, develop to started have t After socio Yugoslav) broader and (local double a under produced were films some where cinematography, Yugoslav of complexities introduces aestheticall and historically post a introduces etc.), documentary poet with the of indicative renders film’ Serbian so time, same the at recognizes, but framing, a such from away moves analysis my sense, that In influence. cinematographic of dynamics the about tells research my of framework the developing for important are study his 2012). Jovanović (see ideology of concept the overlooks completely thus, about writes he when instance, For films. 10

film A he breakup of the federal state of Yugoslavia, he notes, post notes, he Yugoslavia, of state federal the of breakup he However, Pavičić’s book shows certain incompatibilities with my approach to these to approach my with incompatibilities certain shows book Pavičić’s However, “Post study Pavičić's Jurica Alternatively,

transitional historian, Jurica Pavičić, describes this this describes Pavičić, Jurica historian, - uolv rmwr wti wih hs fls a b pstoe both positioned be can films these which within framework Yugoslav

period in Serbia, (violence,pornography,post period in similartopics ics, and filmtradition. relations withtheYugoslav ics,

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voiding famous and known actors as protagonists; choosing people extremely people choosing protagonists; as actors known and famous voiding

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CEU eTD Collection published. 2011, 103). More importantly, this type of film is film of type this importantly, More 103). 2011, (Pavičić context political/social bythe conditioned relations of networks complex via represented coll logic, his to According differentiation. of argument strong a creating of purposes for only if as categories certain in films includes he which in types and unclear general, creates Pavičić post opposing for base the creating at aiming Roš Tilva categorizati his towards distance critical a with but cinema, Yugoslav film/cinematography (2012,227 some differences; post about speak can we that stresses “post phrase reliab a as Pavičić indicates certainly most study post about data accumulated fact the overlooks dichotomy “The arguable: and problematic is society the in embedded being (Ibid.). it from escape never can they that society the in embedded so are protagonists film Yugoslav post whereas society, escape to ways finding margin, a on living rather are protagonists whose 11

It should be noted that that be noted should It ectives”, because it foregrounds an individual within the collective/city/society whose life is life whose collective/city/society the within individual an foregrounds it because ectives”, In that sense, my analysis will rely on some general notions of Pavičić’s typology of post of Pavičić’s typology of general notions some on rely will my analysis sense, In that sJvnvćpt i, t it, puts Jovanović As

. 11

It could be said that his study relies on a somewhat teleological perspective: always perspective: teleological somewhat a on relies study his that said be could It - Yugoslav film” is also an important move in local film criticism/theory because it because criticism/theory film local in move important an also is film” Yugoslav hn ipsil i epoig h faeok f nationalist of framework the employing if impossible thing Klip

is not a part of his book; given that that book; given his of a part is not -

uolv ieaorpy o, s eoš Jvnvć oe, this notes, Jovanović Nebojša as for, cinematography Yugoslav he very dichotomy of individuals living on the margin and ones ones and margin the on living individuals of dichotomy very he - 8).

oeie vge hrceiain o post of characterizations vague sometimes - uolv im n iglr ihu oltrtn is inner its obliterating without singular in film Yugoslav - Yugoslav to East European cinema. On that matter, that On cinema. European East to Yugoslav 8

le chronicler (2012, 229). Pavičić’s use of the the of use Pavičić’s 229). (2012, chronicler le clearly iv Roš Tilva the movie was premiered a year after this book was book this yearafter a premiered was movie the

op posed to those East European films films European East those to posed eog t te so the to belongs on of some films, such as such films, some of on - Yugoslav film film Yugoslav - ald “films called - - CEU eTD Collection dpie o ter otli go, fe i gnee cnrnain ih oe ad t a at and women with confrontation genderedgenerat in often glow, nostalgic their of “deprived environment, everyday domestic, their of ‘presence’ the to back 77), (2007, unquestionable” mascu allegoric “ masculinities representing towards shift a indicate of aspects the Pavič thanthe in onesindicated not only different are which cinema European East of aspects foregrounds classification Her films. in masculinity representations of different cinema,based on European East typology of (2007), presentsherown period ofhisinitiationinto theworldofgrown of places category This films. both interpreting will I this, of because Precisely 230). (2012, collectivity” the of part a being and marginalized being between balance’ environment, negotiatethat mostprotagonists they tofind‘theright through theirsocial which try of ofsharedcomplexitiespost andnuances themes/topos’ this of framework primary a as typology Imre’s place post and European East differentiate to attempt his and study Pavičić’s challenges cinema European East of context - g story age oa wr ih hi aoecn ofpig (07 7) Placing 78). (2007, offspring” adolescent their with war ional Anik

ó rmwr i wih h poaoit eoits i iett wt te oit, n a in society, the with identity his negotiates protagonist the which in framework

me i “nes n Bokr i Rcn Esen n Cnrl Eur Central and Eastern Recent in Blockers and “Angels in Imre, Tilva Roš Tilva iiy f h ielzd at we mnod a algdy boue and absolute allegedly was manhood “when past idealized the of linity - uolv post Yugoslav –

important for my analysis. For instance, the so the instance, For analysis. my for important in a broader sense broader a in - oils cnm wt cer iiin oee, hs os not does this However, division. clear with cinema socialist – Tilva Roš Tilva

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ić’s study, but corresponds very well to some of tosome butcorrespondsvery well ić’s study,

ak n h present the in back

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CEU eTD Collection ( the of examples more some with us presents 1.2. satisf post represent[ing] […] called so other the On 86). 2011, (Pavičić society consumerist young the of celebration the on based films commercial hedonistic and revisionism emphasis) self sophisticated, a in history national process 1990s onwards] European [from cinema o movies, as films these positions tradition, film inherited the to relation in that, especially violence of subject the with and film’. Serbian ‘New as to referred usually film, Serbian recent the introduce to necessary post of frameworks between negotiate to order In of subgenre a as described be of Still, themselves. distance to want film’ Serbian ‘New the of representatives whom from Kusturica, Emir and Dragojević Srđan as such directors includes which category a 12 Šišanje

- My analysis here bases on two chosen films: films: chosen two on bases here analysis My age story K

T y the imaginary demand for violence coming from the Western Eye” (Longinović 2005, 46); (LonginovićWestern 2005,46); comingy Eye” the from forviolence imaginary demand the lip ) from 2010, and ) from HE HE In a theoretical sense, theoretical a In

in this research, I seek to show to seek I research, this in n the one hand, move away from what Imre reckons as “the ‘artistic character’ of East East of character’ ‘artistic “the as reckons Imre what from away move hand, one the n films of of films COMING –

come into thepicturecome into here? but also from two dominant discourses of the early transition period: anticommunist period: transition early the of discourses dominant two from also but self - OF S/tripping - B - alkanization - Yugoslav space as a zone where distortions of extreme passions strive to strive passions extreme of distortions where zone a as space Yugoslav

A coming GE STORY GE

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Parts about the classic Yugos classic the about Parts Schmidt concludes on the topic of the modern youth films in the American cinema: „Because of their characteristic oftheir „Because cinema: American youthin the films modern of the thetopic on concludes Schmidt have literature, as such forms, cultural other that noted be should It coming motn mtv o te oil representation. social the of motive important transition . As I stated at the beginning of this section, one of the lines of my inquiry follows the way the follows inquiry my of lines the of one section, this of beginning the at stated I As youth 1940s, was the cinematography inlate classic Yugoslav beginningof Since very the

– them

l Jea ike a Rose a ike - and of Love and Fashion and Love , or the or , ns -

g story age as a resourceful social formatio social resourceful a as an as youth the introduce not does (1967), - K

prose in Serbia. in lip coming , which I here analyze as representatives of the the of representatives as analyze here I which , otc, obnd ih oilpltcl rtcs, hpd oe f h most the of some shaped criticism, social/political with combined poetics,

as Aleksandar Flaker (1976) names it it names (1976) Flaker Aleksandar as (1971) by Jovan Jovanović Jovan by (1971) Little Pioneers Little

eoig scal res socially a becoming - 16 of l a

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( th the the th - Ljubav i moda i Ljubav KgPdA0 : focused specifically on the protagonist, narrated from the personal, first first personal, the from narrated protagonist, the on specifically focused : problems

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presented a type of story very similar to the one the to similar very story of type a presented c lecture “Kako se kalila ljubav” (How love was love (How ljubav” kalila se “Kako lecture c

Although it lacked a serious, skillful skillful serious, a lacked it Although uolv im tha films Yugoslav

(Dimitrijević 201 (Dimitrijević –

(or in that time time that in a –

the briefly outlined previously in previously outlined briefly rather it theme; commercial) new society –

Serbian shown great interest in the in interest great shown 1, 172). ‘B 172). 1, rpeetd youth represented t

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CEU eTD Collection discourse on transition; he illustratively refers to the „Western viewers of democratic revolutions in the Eastern Eastern the Europeanframework/cinematography. in theEast about speak revolutions democratic Cold of such viewers in Operating „Western 50). (2012, the Europe“ to refers illustratively he transition; on discourse social of vicissitudes the (2002, 11). oftime“ exploring moments various at and ideologies identities for suited well especially been have films youth order, social adult the of those live the freedom they gained (see 2012) Buden gained they live thefreedom (Ibid.). problematic understanding” fundamentally youth the makes it that a becomes socialization of act the fast, uncontrollably changing are practices interpretation Moretti’s crisis’, in ‘society the to opposed as community’ ‘stable a define youth immature biologically being than more nothing means communities’ ‘stable in youth of phenomenon the about idea Mannheim’s importa an youth gives culture’.indicative ofthe‘transitional this by appropriated formation the a as youth of importance the Moreover, parents. their of one the and culture turbo and (skate section this the transform only not they and (politically that symbolical one as constructed inevitably becomes culture’ ‘transitional of subject 17

Buden in his book keeps the West/East dichotomy dichotomy West/East the keeps book his in Buden

in societies in crisis (1987, 4). Although it seems rather hard (maybe even impossible) to to impossible) even (maybe hard rather seems it Although 4). (1987, crisis in societies in rno oet (1987), Moretti Franco ly) ly) –

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n i bo on book his in new in

rely on its conventions when they employ subjects from youth from subjects employ they when conventions its on rely the

cinema, lies on yet another symbolic level symbolic another yet on lies cinema, transition - - War

of icuss f oen etr clue Floig Karl Following culture. Western modern of discourses - g story age - epistemological binaries goes along the along goes binaries epistemological at asks of its subjects to ‘learn’ ‘learn’ to subjects its of asks at ad generational and , – 14 n hc h bss h itrrtto o post of interpretation the bases he which on Bildungsroman

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and unregulated market economy. According to Jovanović, as opposed to some ‘succes some to opposed as Jovanović, to According economy. market unregulated and Whereas classical liberalism represents a negative conception of state power in that the the that in power state of conception negative a represents liberalism classical Whereas post that notice to important is It (neo of importance the things: two indicates This classical liberalism to neo to […] liberalism entrepreneur. classical competitive and enterprising an is who neo individual In freedom. practice can and nature human necessar autonomous an having as institutions characterized is individual the liberalism, classical and In operation. laws conditions, the providing by the market creating in appropriate role state’s the of conception positive a represent to come has liberalism indivi recipes dual was to be taken as an object to be to an object be takenas was to dual

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In original original In Education”, Provided Publicly of and State Welfare the of Defense “In Olssen See Boris Buden in his book on the ideology of post of ideology the on book his in Buden Boris ‘perpetually be to encouraged responsive’. continually is who and state naturally the by who created is economicus’, who man’, ‘homo from position self of subject out behaves in change a involves shift Zone des Übergangs: Vom Ende des Postkommunismus des Ende Vom Übergangs: des Zone esetv coe h chosen perspective Zona prelaska -

democratic future of East European countries, European East of future democratic - 19 communism as a condition aas communism

in Apple (2006). Apple in

n a complex relationship between the socialist/communist past and the and past socialist/communist the between relationship complex a n

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Precisely because of its insistence on class struggles and social hierarchies I choose to choose I hierarchies social and struggles class on insistence its of because Precisely he fact that the youth culture represented/constructed in in represented/constructed youthculture the factthat he aetl motne o clua pouto (ikn n Ra 20, 1233). 2004, Ryan and (Rivkin production cultural for importance damental n pouto. r s on try nepes t “hog pten of patterns “Through it: interprets Storey John as Or production. ing uclue: h Maig f Style of Meaning the Subcultures:

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and eterogeneously, K lip

importing importing

does not they they CEU eTD Collection tastoa clue o Sri tdy Esnily a atr f h ‘eod generation’, ‘second the not indicative analysis my of in is one, matter (parent) previous the a of problems resolving symbolically Essentially, today. Serbia of culture’ ‘transitional contradi and complexities working British particular a on relies to supposed are subcultures youth that conflict the working and the affluence of demands of traditional ideology new the discourses: contradictory two with confronted been mid the from premise: main one on based is [1972], Community” “ article, important most His culture. parent the by him, working For ofstyle. focusing analysis onsubcultures: primarily onthepolitics of method the employing By semiotics (Ibid.). difference and identity cultural both communicates w practice signifying a is Style 120). (1996, cultures” parent and dominant both to resistance of forms symbolic in engage subcultures youth music, in taste or speaking of ways behavior, equating from the conformto to refuses resistance which in youth starting the hence with youthfulness, with subcultures theoreticians, studies’ cultural (male) of works previous the in lacks 1990s (seeDimitrijević 2009). the during crimes war massive by marked past, conflictuous and violent country’s the resolving, only of the subcultural semiotic inquiry; it is also important for questions of confronting, and and confronting, of questions for important also is it inquiry; semiotic subcultural the of Phil Cohen (2005), on the other hand, focuses his research exclusively on class politics. politics. class on exclusively research his focuses hand, other the on (2005), Cohen Phil Finally, Angela McRobbie in her wri in her McRobbie Finally, Angela –

a way of reading signs as texts as signs reading of way a - class youth subcultures represent attempts of solving the problems experienced problems the solving of attempts represent subcultures youth class tos h (omr oils) okn cas ofot wt i the in with confronts class working socialist) (former the ctions

- ls lfsye (i lifestyle class - ls cnet f h 17s i my e eln o the of telling be may it 1970s; the of context class tings on girls’ subcultures stresses some fundamental girls’ some subculturesstresses tings on –

22 Hebdige introduces a novel perspective to doing to perspective novel a introduces Hebdige solve

, point to, and question. Although his study study his Although question. and to, point , Soe 19, 1) I i ti symbolic this is It 117). 1996, Storey n uclua Conf Subcultural

- 1950s, the working class had class working the 1950s, it n Working and lict - class hich hich CEU eTD Collection 1.5. lo nrdcd ee a one as here, introduced also nation Serbian nowadays’ pursuing of way a as conflicts war also post on only not based itself, culture’ ‘transitional Serbian identities youth gender, classand/orGiven the ofcategoriesinterplay/interdependence sexuality. of of forms different shapes culture’ protagonists identities, youth together bring that concepts the of some outline to necessary now is two it these films, in culture youth analyzing for important concepts and theories introduced Having to class,butmoreconstructed, significant withregards are identities female where spaces symbolic as leisure and school, family, on focuses it because working on 13 2000, (McRobbie tones’ ‘masculine sex, and gender of concepts commercial un She here. importance crucial of is other, the on state and nation and side, one Mayer’s multiple through and, 62) 1996, (Verdery (patriarch real’ ‘socially become life social in utilization 1996, 62).

I DENTITY C DENTITY Both gender and nation are deemed cultural deemed are nation and gender Both (2000) lntoait ielgcl oe, auaie as naturalized moves, ideological al/nationalist)

- ’ subcultural belonging, and their relationship with the social context. ‘Transitional context. social the with relationship their and belonging, subcultural ’ tastes of the majority (in Storey 1996, 120); to the complete overlooking of the the of overlooking complete the to 120); 1996, Storey (in majority the of tastes class girls’ culture (from the late 1970s Britain) can be especially resourceful, resourceful, especially be can Britain) 1970s late the (from culture girls’ class ocpulzto o rcpoa relation reciprocal of conceptualization ATEGORIES ht “mediate that allowing

-

4). For the purpose of my inquiry, McRobbie’s inquiry, my of purpose the For 4). consequently the term ‘subculture’ to acquire strictly strictly acquire to ‘subculture’ term the consequently te eain ewe sbet ad tts ( states” and subjects between relation the s 23

–

ly to genderandly sexuality. to arbitrary s

between gender and sexuality, on the the on sexuality, and gender between n hs fls truh mutual a through films, these in - oils tastoa poess but processes, transitional socialist given –

- constructs, which through their through which constructs, state, a concept of the nation is nation the of concept a state,

and and unchangeable derstands it as a as it derstands

complexity of complexity

Tamar . research Verdery CEU eTD Collection from the 1990s onwards (see Grujić 2009) Grujić (see onwards 1990s the from turbo analyzing for importance fundamental of are notions these All 23). are but inevitable, nor submission natural neither and dominance of sexuality; relations that within suggest relations practices heterosexual power conventional of complexity indicates heterosexuality that, Following maintainsand women: between inequality men theprivilegednationanditsdemarcation ofreproduces the gend one’s constructs heterosexuality, and heroism, (2000 re which behaviors and norms accepted of repetition of process masculinities. co Connell’s W. masculinity of forms categori with relations inthemovie,organizes ontheother. social - , 5). In other words, practicing norms and behaviors such as reproduction, militarism, militarism, reproduction, as such behaviors and norms practicing words, other In 5). , folk identity folk Tilva Roš Tilva acceptableand thatonly genders attractionbetween these‘opposite’ isnaturaland sexual sex, biological reflects gender that genders, two only and two are there that assumptions su The that norm implied an as heteronormativity examine theoreticians way, similar a In es of class and femininity. For the purposes of this thesis, this of purposes the For femininity. and class of es Connell’s concept was formulated as a ‘cultural ideal’, suggesting embodiment of embodiment suggesting ideal’, ‘cultural a as formulated was concept Connell’s t o clua, ea, n isiuinl rcie ta miti normative maintain that practices institutional and legal, cultural, of ite n ifrn vi,ak fr h ocp f aclnt, n t intersections its and masculinity, of concept the for asks vein, different a in , cp o ‘eeoi msuiiy ad al ils studies Willis’ Paul and masculinity’ ‘hegemonic of ncept –

for instance, its rootedness in nationalism that shaped the turbo the shaped that nationalism in rootedness its instance, for –

shaped and (re)structured by the ‘transitional culture’ ‘transitional the by (re)structured and shaped results from the hierarchical ordering of gender (Jackson 1996, (Jackson gender of ordering hierarchical the from results –

on the one hand, and heterosexual activity which which activity heterosexual and hand, one the on 24

er identity but, at the same time, guards and guards time, same the at but, identity er

Other (Schilt and Westbrook 441).(Schilt 2009, and

(Ibid.). - create K lip s the ‘privileged’ nation nation ‘privileged’ the s ’s protagonist’s (female) protagonist’s ’s

I will explore will I –

n working on through - folk ge folk

different using R. R. using - class nre .

CEU eTD Collection ersn voec nt s oehn coey ad xlsvl, eae t nationalis to related exclusively, and closely, something as not violence represent post about narratives dominant from and traditions, violen forms different in comes films two ‘grown the of arrangements social violence, and belonging thisfilm. masculinitiesculture and in its working in on subcultures study Cohen’s Finally, 1990). 2006, (see identities masculine asserting for circumstances working 337). 2001, (Demetriou patriarchy reproducing of purpose the for masculinities diverse from practices unites masculinity of patterns and groups ( subordinate to masculinities man a being of way honored most (currently) the of way market. the appropriate of violence an the accepting as seems violence stronger’, the of law ‘the be to out turns economy m the to command the from transition dramatic Serbian of arrangements social broader to assimilation ‘transitional culture’. of form a as rather but poverty; ce. As a theme, violence here indicates certain disassociations from previous film film previous from disassociations certain indicates here violence theme, a As ce. In the case of case the In M - ls msuiiis hc idct te motne f ad ao ad economic and labor hard of importance the indicate which masculinities class analysis y Willis,

on the other hand, presents us with different studies on shop floor and youth and floor shop on studies different with us presents hand, other the on aog te things, other among ,

Tilva Roš Tilva - ls cmuiis 20) sre s ueu suc fr rmn youth framing for source useful a as serve (2005), communities class and

2005 o v how , t , hese social arrangements could be seen as consequences of consequences as seen be could arrangements social hese - , up world’. world’. up

832). Thus, 832). ( iolence represents an act of socialization or adaptation to to adaptation or socialization of act an represents iolence 2005 In –

hscl smoi, scooia, r ru (massive) group or psychological, symbolic, physical,

K ,

lip

aims to show the relationship between subcultural subcultural between relationship the show to aims 847 , however, we see social arrangements as based on based as arrangements social see we however, , As I will show in the last chapter, violence in these in violence chapter, last the in show will I As 25 - hegemonic masculinity includes ‘nonhegemonic’ includes masculinity hegemonic ) ad t a b dfnd as defined be can it and 8),

, arket economy economy arket

while, at the same time, requiring all other all requiring time, same the at while, - ofit oit. aey tee films these Namely, society. conflict –

f h rl o te market the of rule the if hbi bloc hybrid a and/or m

that the the

CEU eTD Collection hpes e nlzd hog iett ctgre otie i ti section. this in outlined categories identity through analyzed be chapters clas and gendered deeply a in shaped identities Youth generation young(er) way the and transition, in culture youth the about conclusions drawing for allow furthermore will narratives films’ of Analyses up. protag growing of part important an as seen is violence again, which, in culture, transitional of context the with critically engage they which through elements documentary employing by film, the illustrate representation). chapters and exclusion hegemony, power, of concepts on focus particular (with analysis discourse critical and view), of point(s) characters/narrators, events, of sequence hierarchies class and nation(alism) (hetero)sexuality, heteronormativity, gender of categories via classified be analytically narratives. Serbian early the of residuals heterose and heteronormative

hs eerh eis n w mi methods: main two on relies research This . Given all this, it should not come as a surprise that social patterns in these in patterns social that surprise a as come not should it this, all Given

ways Tilva Roš Tilva transition it eain wih truh sbutr o turbo of subculture a through which, relations xist

and , marked with armed conflicts and omnipresent nationalist omnipresent and conflicts armed with marked , Klip

26 function as the Serbian version of coming of version Serbian the as function

–

closely related to them, in structuring social structuring in them, to related closely artv (nlss f h fl narrative: film the of (analysis narrative e tastoa cnet il n these in will context transitional sed , and other generic norms norms generic other and , is is constru cted

it in it - folk, signify signify folk, youth Following films can films - onists’

of films. - age –

CEU eTD Collection Stefan could be Stefan rep film the in privatization, factory mining state a in worker a father, group skating the from friends their citizens anymore.workmain inYugoslavia, doesnotexist forits source of and poorest the of one I hill this film, the In industry. the mining represents its founded Bor which on reservoir ore first the was the in worked men local settlement clo is age of coming of process Roš Tilva neoliberal paradigm. the to tied closely are behavior concrete and beliefs high whose a politician is local father ranked Stefan’s Belgrade. in education his continues Stefan while job, a for search TodastaysAfter andpointsofview opposite, opinions thanToda. high finishing school, C n the post the n HAPTER HAPTER Toda and Stefan represent the ‘skate culture’ in Bor. in culture’ ‘skate the represent Stefan and Toda

s mve bu a on mn Td, n hs coming his and Toda, man, young a about movie a is was one of the richest indust richest the of one was - socialist Serbia, w Serbia, socialist (glorious) 2:

best described as Toda’s ‘converse’ in the film narrative, who has different, often often has different, who film narrative, the in ‘converse’ asToda’s best described

T ILVA ILVA least past of the town the of past mining industry. ‘Tilva Roš’ in Roš’ ‘Tilva industry. mining R resents the resents developed towns developed OŠ here sely sely

the neoliberal market has bee has market neoliberal the linked with linked Kolos rial towns in former Yugoslavia, former in towns rial Serbian , , when Bor had had the biggest copper mine in Europe in mine copper biggest the had had Bor when ,

which is going through a rather complicated process of of process complicated rather a goingthrough is which

noig hi ls ‘ih col summer’. school ‘high last their enjoying of 27

working class and its wor its and class working

the specific context of his hometown Bor. This Bor. hometown his of context specific the the country. Its mining industry, which was the the was which industry, mining Its country. the

the Vlach language means “red hill“. I hill“. “red means language Vlach

The film portrays these boys with boys these portrays film The n established, Bor has become become has Bor established, n - of - age

and ldviews. Toda’s friend Toda’s ldviews.

n eba Te boy’s The Serbia. in the

vast majority of of majority vast

in Bor to in Bor Toda’s t . CEU eTD Collection Ass http://www.zilnikzelimir.net/socially 2.1. docudramas, his protagonists are not actors, but ‘actual’ people from the hinges the from people ‘actual’ but actors, not are protagonists his docudramas, makes he when Even etc. transvestites people, unemployed people, homeless workers, children, li people’s environment. their with destinies individual people’s associates he way the from comes movies his in action film Yugoslav the in active still tradition, alsooneofthefewdirectorsfrom today. that era docudrama and film documentary of pioneer a (1942), Žilnik Želimir way will herefocusonthe I as tradition, do apply films wave’two these chapter, previous the in explained ‘Black the to back lead drama documentary through speaking cinema poetics, modify thecoming employing through films, these way the is to attention pay to important is What analyzing of focuses the primary h chapter first The social environmentas main the subjectmatter. their and lives people’s between relationship dialectic the and themselves, play who protagonists in identified be could that elements Merlinka. transvestite Belgrade a featuring 1995, the from movie his is examples famous most the of One themselves. play 24 23

For more information of this film see Kevin Moss (2002) „Yugoslav transgendered heroes: heroes: transgendered „Yugoslav (2002) Moss Kevin see film this of information more For

hn sek bu Žli' fl i ti scin I ey n oiia rjoas et aalbe at available text, Prejdova's Dominika on rely I section, this in film Žilnik's about speak I When “,

REČ D OCUMENTARY POETICS OCUMENTARY inks nae cnm i sti is cinema engaged Žilnik’s

67/13 ( 67/13 ves, which is why his protagonists always come from the margins of society: street street society: of margins the from come always protagonists his why is which ves, 23

http://fabrikaknjiga.co.rs/rec/67/347.pdf Crucial theme of his work is the relationship between ideology and its effects on effects its and ideology between relationship the is work his of theme Crucial as introduced the main lines of my inquiry, in regards to which it has outlined has it which to regards in inquiry, my of lines main the introduced as

Tilva Roš Tilva - of

- - age film into asociallyengaged engagedgenre.Although of age filminto traces engaged Tilva Roš Tilva

employs some strategies that can be recognized in movies of canberecognized in that employs somestrategies - iv Roš Tilva cinema ll considered unique. As Dominika Prejdova notes, the the notes, Prejdova Dominika As unique. considered ll

and - according

28 K ). mxn o doc of mixing : lip

as examples of Serbian coming Serbian of as examples - zelimir cumentary poetics in different ways. I ways. different in poetics cumentary - zilnik 24

hs im mly ms o the of most employs film This umentary and fictional scenes, scenes, fictional and umentary .

Marble Ass Marble

( Mramorno dupe Mramorno Virgina

of society who who society of - documentary documentary of -

age films. age films. and and Marble ) CEU eTD Collection

opening scene we see the ‘original’ documentary footage, a sequence of the boys’ video boys’ the of sequence a footage, documentary ‘original’ the see we scene opening part actually is beginning very the from footage the witness viewers which situation anticipated in previously cadre wider a employs and Stefan from away moves camera Ho footage. documentary a of impression the gets one camera, the cam handy St with opens movie The hill. Roš’ ‘Tilva of story the and identities, subcultural boys’ the poetics, about theirreallives;therefore film’s the of parts included as themselves; play Stefan self and harm of acts various video, explains he festivals, international a as seen be should in participate they subculture the on, later show will I As protagonists. the essential renders also It Bor. in together spending are they summer last the of presence fictional his actual boys’ the linking of way a as serves which introduced, are elements documentary of types different Thus, 26 25 https://www.youtube.com/watch?v=g92G4DqN9oI

See Es the for an interview instance, See, for efan centered in the cadre preparing for a trick of sliding down into a hole, recorded with the with recorded hole, a into down sliding of trick a for preparing cadre the in centered efan

uclua belonging subcultural You CRAP: The opening scene introduces several things important for my analysis here: documentary documentary here: analysis my for important things several introduces scene opening The interviews the In - tube

by Toda, as we discover soon after. Due to the raw, untreated sound, and the shake of shake the and sound, untreated raw, the to Due after. soon discover we as Toda, by

video Pain is Empty is Pain https://www.youtube.com/watch?v=IyWCqph6qAo oislvs ih h fcinl lmns n h mve ter at ih the with past their movie; the in elements fictional the with tories/lives

hy r not are they 25

. This video was video This . ersne i te oi va rc promne o te m the of performances trick via movie the in represented ioa eać te ietr of director the Ležaić, Nikola -

narrative harm according to the to according harm

the movie’s plotline develop the movie’s plotline –

Toda recording Stefan recording Toda toril Film Festival inPortugal. FilmFestival toril how the idea for idea the how . 26 professional professional

In a way, the story about the about the story way, In a

created 29

f faue, itoa fl. ih atr the after Right film. fictional featured, a of

Jackass iv Roš Tilva acto by Toda and Stefan, and Toda by rs, – s on

which tells us that the documentary the that us tells which

. n sqecs of sequences and

aes iv Roš Tilva

two levels: two levels: was thetics

wever, after some time, the the time, some after wever, initiated initiated se two characters two se . In . hs ie fr som for given has , and in it they perform perform they it in and fictional the movie the by a real a by CRAP

and ,

Toda and and Toda is a story a is Y real r also are

ou CRAP - . tube

ain ain e . .

CEU eTD Collection 2. ovnin o te coming the of conventions read to order In of elements evokes section assymbolically introducedwiththeopeningoutlined inthis scene. environment social their and lives people’s of dialectics the the of status pe – context transitional with the engagement film’s social viewe fact that trick. The performing a Roš’, ‘Tilva hill culture’) mixture re he changes; increasingly Toda coming Toda’s ‘directing’ of function in are parents, their as well as friends, their and Stefan including characters, other All protagonist. main a as Toda centers f Stefan’s coming boys’ and generation parent’s s This identities. boys’ the and context,

2. frig hi saeJcas rcs ad i ta sne lnig tastoa clue wt the with culture’ ‘transitional linking sense, that in and, tricks; skate/Jackass their rforming but also the importance of bringing together a socially engaged framework with the boys boys the with framework engaged socially a together bringing of importance the also but

T ODA the of story a introduces also scene opening the elements, documentary the from Apart

f w dfeet lbl om of forms global different two of on the one hand, on theone riendship during their last high school summer, the film’s narrative subtly and gradually gradually and subtlynarrative summer, film’s high the school last their riendship during ’ youth in it. Going back to Žilnik, his strategy of producing action exclusively from exclusively action producing of strategy his Žilnik, to back Going it. in youth S C S

OMING Tilva Roš Tilva with Stefan explaining it to Toda who is behind the camera, a moment before moment a camera, the behind is who Toda to it explaining Stefan with - of –

- being subjects of transition from the socialist to the post the to socialist the from transition of subjects being g. oee, vn huh h fl i bsd n olwn Td’ and Toda’s following on based is film the though even However, age. -

OF and local hegemonic

as a Serbian variation of the coming the of variation Serbian a as - - of AGE - g gne s h itreto o te rniinl post transitional, the of intersection the as genre age

- dps ifrn frs f i msuie dniy i the in identity: masculine his of forms different adapts rs learn the story in the opening scene, implies not only the not only the implies opening scene, the the story in rs learn cin i ta sne aaye te ‘growing the analyzes sense, that in ection, subcultures elements 30

–

Aeia ‘ (American after all, the movie is named after the hill the hill named after is movie the after all,

of the ‘ transitional culture’ transitional - - of o f - J - interpret must one film, age ackass age. Throughout the movie, movie, the Throughout age.

ietl’ n ‘skate and lifestyle’ - socialist society socialist

on theother. - p o the of up’ iv Roš Tilva - socialist –

CEU eTD Collection masculine identities identities masculine to referred only is film Toda separates from everyone, embracing his marginal position an marginal his embracing everyone, from Toda separates way the tracing for finally, and, differences, mapping generational for their here identities, serves masculine sons, different two and fathers two via generations, the of intersection The t belong film the in boys the that subculture skate the of form unique a interpret will I which understanding own their create generation) (young sons the and distinction class on focusing theway illustrate here will I culture. parent’s the with relations/contradictions its and culture youth coming the presenting the of aspects main the of one chapter, previous the in indicated As 2.2.1. generation,boys’ and2)the motiveofa‘ proces Toda’s line, that Following society. in and group skating their in both position marginal his realizing friendship Stefan’s and his in ‘intervenes’ enteri Dunja With identity. group a subcultural embraces and worldviews, father’s his from himself delineates (rebelliously) he beginning characters for scenes, several in only appear fathers Stefan’s and Toda’s movie, the Throughout 2.2.2. ‘grown 27

It is interesting how in the film we find about Stefan’s father’s name name father’s Stefan’s about find we film the in how interesting is It

T F - ATHERS up world’. HE I HE – NTERSECTION OF OF NTERSECTION

they are primarily instrumental to the boys’ growing boys’ the to instrumental primarily are they s of coming of s

– fathers (older generation (older fathers

as a representative of the neoliberal paradigm, Ljuba has an individual name, while Toda’s while name, individual an has Ljuba paradigm, neoliberal the of representative a as

as ‘father’. One can then conclude how this metaphorically implies fathers’ opposite opposite fathers’ implies metaphorically this how conclude then can One ‘father’. as

- of - G

age is interpreted here through 1) the intersection of parents’ and and parents’ of intersection the 1) through here interpreted is age ENERATIONS

types of work they do. Furthermore, I analyze the way the analyze I Furthermore, do. they work of types love triangle ) in the film the ) in –

Toda slowly begins to separate from Stefan and her, and Stefan from separate to begins slowly Toda ng the picture the ng 31

’.

struggle to struggle

of the ‘transitional culture’; in regards to regards in culture’; ‘transitional the of –

– Ljuba

she comes back from France and France from back comes she

adapt to the new conditions, by by conditions, new the to adapt - d appropriating the rules of the of rules the d appropriating – up.

while Toda’s father throughout the the throughout father Toda’s while 27

However, Toda’s fath Toda’s However, - of - g gne is genre age –

like other like

their er, o.

CEU eTD Collection ahr ersns h wrig ls wih ideologically which, element. class working the represents father working labor of practice the of privatization manageri and bureaucratic former most werethe the who benefited those in all, but foreignof capital, different intermixtures dif slightly had enterprises state former over control acquiring groups Verdery jo his that means This privatization. of process complicated a through going is factories, state former many support andreinforce elements all Clearly, work. of types different of performances implies which classes, different to belonging their 2) and transition, of ‘project’ the to relation different their 1) here, masculinities sons their ways im are elements the Two identities. own their construct and to perceive related intrinsically are identities masculine fathers’ the of Features Ljuba. than space more occupies narrative, the in position central Toda’s with accordance in who women Unlike 147). (2012, ‘breadwinner’ male the of model social a in changes affect r of tothethreatdirect way hence losing hisjob, due 2006), educed chances for employment, as well as strong family solidarity and the pressure for survival,solidarity andthepressurefor well as strongfamily as educed chances foremployment,

trans Marina Blagojević, in her study on lifestyles and gender relations in Serbia, notes how how notes Serbia, in relations gender and lifestyles on study her in Blagojević, Marina middle a is father Toda’s 1) s xlnto o te rcs o piaiain n post in privatization of process the of explanation ’s - class man’s identity is inextricable from his everyday practice of labor (see Willis Willis (see labor of practice everyday his from inextricable is identity man’s class b, as well as his family’s livelihood, is under a threat a under is livelihood, family’s his as well as b, itional performed

hne, uh s rvtzto, fet oas ahrs esnod n most a in personhood father’s Toda’s affect privatization, as such changes, foundry

each otherthroughthe relationswith otherpeople. fathers’

l paau o te party the of apparatus al te bas the , outside outside - ic gd a wo ok i a onr, fcoy hc, like which, factory a foundry, a in works who man aged of lmn o Toda’s of element h home the 32 de nt eonz idvdaiy s t constitutional its as individuality recognize not does ,

failing – - tt” (1996, state”

rdal disappears. gradually

as thebreadwinner.

ahrs (working father’s - . socialism portant for mapping the fathers’ the mapping for portant This situation can be related to related be can situation This

212 - 3). eet opstos and compositions ferent „n ah onr the country each „In :

oevr d Moreover,

ie te at that fact the Given -

ls) identity class)

e o the to ue –

a

CEU eTD Collection interior of his house as well as the car he drives. It might be that this sort of stereotyping was stereotyping of sort this that be might It drives. he car the as well as house his of interior pol about stereotypes of set a via represented is character his Nevertheless, Union. Workers’ the of president the or politician local a is father Stefan’s if clearly indicate not does narrative film the that here risk mention to important to than profit gain to likely more is Ljuba, father, Stefan’s process endangered ofthefactory. duetotheprivatization post in the flexibility show anynot does her asserting aspe market labor new the entering people class of character (Ibid.). post in and ideological the between commensurability certain experience interests.a negotiatorofthe workers’ as and politician a as structure, power the to linked closely is Ljuba words, other In works. father privatizatio the about officials state with negotiates who one the is he movie, the during seen be can it As skills. managerial/business certain on rely practices working Ljuba’s Bor, in workers industrial the of interests the represents who politician lo a being that said be could It fathers. two the between contrast the outlining for necessary cts indicate that she tries to adapt to the to adapt to tries she that indicate cts women in transitional societies: a societies: transitional in women - Following the previous Verdery quote, one could say that by engaging in the privatization the in engaging by saythat could one Verderyquote, previous the Following socialist Serbia experience a discrepancy which further deepens the ‘masculinity crisis’ crisis’ ‘masculinity the deepens further which discrepancy a experience Serbia socialist In the film’s narrative, film’s the In the ‘ transitional mother who em who mother

subjectivity Toda’s father’s Toda’s bodies iticians including the way he dresses, the jargon he uses, the the uses, he jargon the dresses, he way the including iticians

’ , . But they also illustrate how, unlike her, Toda’s father father Toda’s her, unlike how, illustrate also they But .

- the socialist context, in context, socialist and (former) housewife (former) different aspects of work characteristic for characteristic work of aspects different h ifral sells informally who new rules new

33 ‘ aclnt crisis masculinity

n of the former state factory in which Toda’s Toda’s which in factory state former the of n , and thus she pursues different ways of of ways different pursues she thus and ,

which his working position is utterly is workingposition which his who attends who the ’

omtc rdcs Al these All products. cosmetic is also reflected through the through reflected also is r eal, Blagojević states, men men states, Blagojević eal,

educative trainings for trainings educative i lvlho. t is It livelihood. his working cal - CEU eTD Collection cultural ideal, the currenthegemonic ( masculinity’ ‘nonhegemonic of form a as working the because visible, more distinctions Also, them. between distinctions class of set certain outlining for that Given ideology, re different Their protest different very are positions their say, link thefathersas of that afterwards and Ljuba, of character the situate to serve demonstrations scenes, introductory the of one as atmosphere; political the and context transitional the of viewers reminds it film, the throughout appearing keeps which motive neighborhoods different Stefan’s and Toda’s introduces film the beginning, the At atmospheres. working and home both their meet they which in scenes the witness also viewers the ‘rituals’, everyday their of Stefanin some and follows Toda the narrative beginning. Because very the environments from and homes, their through represented situation financial their distinctions: class their for important are things more ors of his party’s correct intentions, and Toda’s father is a worker, protesting on the street. the on protesting worker, a is father Toda’s and intentions, correct party’s his of ors Apart from the demonstrations which symbolically introduce the fathers’ differences, two differences, fathers’ the introduce symbolically which demonstrations the from Apart i It 2) demons workers’ the is film the in motives prominent most the of One

the the - shape their personhoods in different manners. shape theirpersonhoodsindifferent s hard to speak about speak to hard s film’s –

being on the same side being onthesame n t sm etn opposite extent some to and hi sn’ dcto. h vees e bt o te ahr i ter home their in fathers the of both see viewers The education. sons’ their

narrative represents the boys’ fathers as character as fathers boys’ the represents narrative –

a peripheral working peripheral a strict

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, because they both fight for workers’ rights. Needless to rights.workers’ Needless fight for becausethey both , Ljuba is on the stage in his expensive suit, convincing suit, expensive his in stage the on is Ljuba class distinctions in the context of post of context the in distinctions class Connell and Messerschmidt and Connell Toda’s father. Again, as a motive, demonstrations motive, a as Again, father. Toda’s - - 34 class masculinity in ‘transitional culture’ is seen is culture’ ‘transitional in masculinity class class area and a middle a andarea class –

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embodied by gangsters, by embodied

previously in previously as a site of (individual) inscription and (collective) articulation of articulation (collective) and inscription (individual) of site a as

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f hbi mx ewe te akn n South and Balkan the between mix hybrid a of surrounding it the - f eair o Jsas coming Jasna’s for behavior of folk subculture Jasna iden Jasna subculture folk turbo 48 - femmes fatales femmes -

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i n a sense of sense a n - Eastern Eastern - diary’ diary’ - folk - CEU eTD Collection worn outside the home, at work and on the street, as well as in the dance the in as well as street, the on and work at home, the outside worn of because itcanalsoserveasasite boy. a of eyes’ the ‘for is, that boy, a over fight a into getting even sometimes dancing, (seductive) in engage girls while drinking, and tables bar the behind standing are boys same: the is setting a girls of the scene every in movie, the throughout self of processes everyday through constructed fantasies own desire turbo in constructed fantasies 241 (1995, working also is male the with associated “kafana” the of Rasmussen, gathering Ljerka to of According place 40). 2008, a (Dimitrijević as people/youth areas, suburban rural, the with associated turbo either in dancing of practice a also is this to related Closely narratives. life public performers’ self of narratives interpret also can one loo their about worry they way the From seductive. look they that so way, best a in parts’ body ‘sexy their stress will which outfit’ ‘right the for looking up, dressing girls four introduces scene The dancing. their performing girls, the of one of home in out’ ‘hang girlfriends her and Jasna movie, the of beginning the at scenes the of one In 16). (2000, hair with experimenting and clothes, on trying

- (s) serving to “please” the men;with the to “please” (s) serving ok ic cu o “aaa. Kfn” i “Kafana” “kafana”. or club disco folk cobe emphasi McRobbie - 56). Girls’ seductive dancing in “kafana” induces their pleasure in playing out out playing in pleasure their induces “kafana” in dancing seductive Girls’ 56). ks –

one of them is troubled with leggings outlining the cellulite on her thighs her on cellulite the outlining leggings with troubled is them of one - dominated no dominated zes in her writing the importance of home for girls’ youth cultures, cultures, youth girls’ for home of importance the writing her in zes - folk song lyrics, but it also produces structures of heterosexual heterosexual of structures produces also it but lyrics, song folk tions of competitive drinking, mutual treating, and carousing carousing and treating, mutual drinking, competitive of tions inscribing pleasing theirgaze -

betfcto gone i del sxs and sexist deeply in grounded objectification their leisure time: “Cosmetics of course weretobe course leisure of their time:“Cosmetics 49 - a ebeai Srin a, oaas mostly nowadays bar, Serbian emblematic an s styles and make and styles - night

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en they go dancing in the “kafana”, in the dancing go they en objectification. As viewers witness viewers As objectification. girls, at the same time, satisfy their time,satisfy their girls, same atthe

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CEU eTD Collection subgenre. popula global of overlapping the foregrounds then, which, market music the audience the with communication songs/videos. through fantasies their dressing ‘exercising’ for spaces symbolic creating practices, everyday girls’ man. a how examples get/seduce to order in femininity desirable a embody and back naked and car the in feet feet, on „Platforms sings: she scenes first the of one In way. manner, have you tits, make put to how know not ‘fetishizing’ women. self of narratives construct they that ways such in girls address which media global the in employed discourses culture. media MTV turbo only the not in presentheteronormative discourses of elements trace to order In sexuality. ‘straight’ their with accordance in be to have still will it “ a with heterosexuality adolescent of elements oppressive escape to impossible is it girls for boys, to contrary that, notes McRobbie notions, masculine as subcultures of construction studies’ cultural of critique her In 3.2.1. 34

lbl oua msc oa also today music popular Global

H W

- ETERONORMATIVITY when she is alone in her room, Jasna sings turbo sings Jasna room, her in alone is she when p n/r promn’ eae oe sgetd n turbo in suggested roles female ‘performing’ and/or up hen Jasna Jasna hen , “ implying a woman who woman a implying “

ass, you have everything, why do you need eyes in a discotheque?“ a in eyes need you do why everything, have you ass, a site of home, either Jasna’s or her friend’s, her or Jasna’s either home, of site a - dniiain s hpd y h ‘mascu the by shaped as identification in that scene scene that in 34

clearly signaled clearly hs niae ta a at f il’ growing girls’ of part a that indicates This

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i.e. music videos by Rihanna, Miley Cyrus etc. This implies a certain norm of norm certain a implies This etc. Cyrus Miley Rihanna, by videos music i.e.

eis n h ftsie fml bd a a an yblc eore for resource symbolic main a as body female fetishized the on relies comforts one of her girlfriends, because she feels like she does she like feels she because girlfriends, her of one comforts calls herself for the action the for herself calls

identity” (2000, 3 (2000, identity” 50

: „Who's looking at your eyes? You have You eyes? your at looking „Who's : - folk entertainment, but also but folk entertainment, 6); meaning that if they try to escape it, escape to trythey if that meaning 6); - folk songs in an imitative/performing imitative/performing an in songs folk line gaze’: purely objectifying and and objectifying purely gaze’: line

represents an important element of element important an represents r music with the turbo the with music r

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p rcs as rle on relies also process up iwr se rm these from see Viewers - folk as its (local) its as folk

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in the global in theglobal In a similar similar a In CEU eTD Collection heterosexuality (2009, 170). heterosexuality (2009, 170). difference sexual turbo the of conventions particular Moreover, 3). (2009, values community heteronormative of preservation the to central are music break the after emerged which scene music the on based practice entertainment dominant most the is folk turbo ForGrujić, 168). (2009, culture popular the inside communitythe and individuals between pe women’s way the problematizes Serbian culture’. ‘transitional in heteronormativity of space discursive naturalized) (and established already an in movie, the gender/socialrelatioanchoring of audience. furthermore,indicates possible This, turbo of logic heteronormative d broader turbo oppressive heterosexuality in make heavy re femininity a such of both post Serbian the for commodity main 170 2009, (Grujić power heteronormative disc by constructed femininity

socio ept te hne o pltcl lmt ad diinl lbl nlecs turbo influences, global additional and climate political of changes the Despite turbo and nation women, on study her In - iscursive context of turbo of context iscursive - p f uolva n 91 20, 2 (2009, 1991 in Yugoslavia of up political context and market demands (2009 marketdemandsand context political - up, bare shoulders and half and shoulders bare up, –

seem to outline patterns of Serbian national identity and compulsory compulsory and identity national Serbian of patterns outline to seem - produce the fetishized female body: “Short skirts, long and sexy legs, legs, sexy and long skirts, “Short body: female fetishized the produce

ourses of racism and sexism still reinforces hegemonic relations of relations hegemonic reinforces still sexism and racism of ourses - folk songs/performances and their their and songs/performances folk - - folk genre folk folk subculture represented in representedin folk subculture - folk culture. culture. folk - fracs f eeoomtvt ecd te relationship the encode heteronormativity of rformances socialist popular popular socialist - exposed breasts were the fe the were breasts exposed ).

hs e prdgai fmnnt as bcm a became also femininity paradigmatic new This – - 51

) “tg iette” f oe promn this performing women of identities” “Stage 3). hetero

By doing so, I create a base for mapping the the mapping for base a create I so, doing By - , pathos, youth, beauty, beauty, youth, pathos,

culture - 165). In that sense, visual representations visual In sense, that 165). ok n post in folk market, influenced and shaped by by shaped and influenced market, Klip tishized signifiers that were that signifiers tishized - , it is necessary to outline a outline necessary to is , it uolv eba Grujić Serbia, Yugoslav communication and fetishization of fetishization and ns represented in ns represented in

with the the with - folk - CEU eTD Collection rniinl ie“ Gui 20, 162 2009, (Grujić times“ transitional such as herself, of story authentic an telling was who someone as perceived „was Ceca itself; in story stage 3.3. for the popular music market, these singers have also moved to a class position different than one one different than position class to a moved also singers have these market, musicpopular for the the from escape personal singer’s female on narratives with supported always are lyrics song in love romantic r gender heteronormative relations inthe behavior onwhichmovie arebased. social p scene the and activity, (hetero)sexual explicit of scenes one, closing the reflects which scene opening personal diary ofJasna’s the narrative constitute that scenes several that respect,analyzes in as importa scenes recorded which forefronts diary, personal her of form a as serve clips video Jasna’s chapter, this of beginning the at indicated As her friends identify with. relatio gender/social in traced be can 178). (2009, audiences” with communication of code[s] main […] videos, these for place’ ‘common especially thosecoming living. of status entertai They image. their with associated previously 35

For instance, private life of the Serbian most famousturbo most Serbian of the life private instance, For

J With this in mind, it should not come as a surprise that oppressive heterosexuality in heterosexuality oppressive that surprise a as come not should it mind, in this With ASNA

nment, presented in tabloid media in their luxurious apartments, emphasizing their emphasizing apartments, luxurious their in media tabloid in presented nment, Turbo – ortraying her sick father in the hospital the in father sick her ortraying

wmn with woman a ’ - S DIARY S ok og/ies osrc fmnn sbet oiin acoe del i both in deeply anchored positions subject feminine construct songs/videos folk 35 social bottom social

This suggests rather rather suggests This

cre, lmru bt rgc siy n msrbe destiny miserable and shiny tragic, but glamorous cursed, a –

ltos n cas nqaiis i a es ta tee o te utopian the of themes that sense a in inequalities, class and elations like Jasna like Jasna

(Dimitrijević 2008, 44). However, becoming main commodities commodities main becoming However, 44). 2008, (Dimitrijević - 4). Coming from a small Serbian village and marrying a war commander commander war a marrying and village Serbian small a from Coming 4). – ns nurtured on practices of turbo of practices on nurtured ns

from a lower/working from a class backgro lower/working ambiguous 52

– now

- nt for her growing her nt for folk singer singer folk through mapping heteronormative patterns of patterns heteronormative mapping through

positions offered for girls’ identification, identification, girls’ for offered positions enjoy the status of of status the enjoy

–

Svetlana Ražnatović Ceca Ražnatović Svetlana - up experience. This section, This experience. up - folk subculture Jasna and Jasna subculture folk und. – stars

Srin eon of heroine Serbian a

n h music the in something great great something –

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CEU eTD Collection oe ad elh y rpiaig n uiiig h hgmnc htrnraie utrl oe i te Serbian the in codes cultural heteronormative hegemonic, the utilizing and 169). (2009, context“ „replicating by wealth and power wars Yugoslav the in crimes war of accused together. This beginning rests on the assumption that the audience recognizes the the recognizes audience the adolescent her exciting: thatshefindsitattractive andphone), hence girl(by taking that assumption the which by on pattern heteronormative rests beginning This together. dark room the in up them ended of two the or how hands, Đole’s in up ends phone the how know per voyeuristic a from dialogue the entering as almost situation; scene. re gets lateroninthemovie ofJasna’sbehaviorandrepresentation,which gaze encodesmale norms his which in situation symbolic a creates scene the of cameraman/director the as Đole Placing shaking is the camera that fact The filming. one the is he for see cannot we whom Đole and to camera questions the answering to talking wall, the on leaned Jasna centers scene The activity. heterosexual turbo with identification self Jasna’s together brings It there by bus. trtd utpe ie, i hr self her via times, multiple iterated

Jasna: What?Jasna: Đole: Say something. Jasna: Dooon’t. an ongoing interrupts the audience as if Jasna’s sentence, middleof in the The scenestarts sense, In that Jasna: My name is Jasna, I have a big house with house big a have I Jasna, is name My Jasna: WhateveryouĐole: want.

evokes

Klip

-

folk ’s opening scene renders several things indicative of such identification. such of things indicative several renders scene ’s opening

the doc the

stars - artv aot dsrd ls/oil position class/social desired a about narrative

umentary genre, engaging the audience the engaging genre, umentary

it is normal and normal is it –

– and her deeply gender deeply her and

- Željko Ražnatović Ark Ražnatović Željko imn wt te ae mobile same the with filming 53

expected an

the pool; and a mansion; you can get can you mansion; a and pool; the ed position of a passive object in the the in object passive a of position ed –

for an adolescent boy to bully the the bully to boy adolescent an for Ceca represents a woman who gained her gained who woman a represents Ceca spective. The audience does not does audience The spective. - phone from the opening opening the from phone with the social context social the with

–

st o her of site a .

CEU eTD Collection surgery. Also, in one of the fights with her mother, Jasna says: „I'm not gonna talk to you anymore, 'cause soon soon 'cause anymore, you to talk gonna not „I'm says: Jasna housecleaner“. mother, become a you'll enough her with fights the of one in Also, surgery. movie. her and also identification but Jasna’s songs/performances, including story, the of aspects main opening this narrative, movie the of level On a identification. of her practices resource for mainsymbolic as a serves time the same rich The surprise. little their in herself portrays Jasna way the mind, in this Having money. some save/get to order in present, a as got she one the sell rather would someo as Jasna marks clearly statement This it. sell to wanted mother her how and Cyprus, from uncle direction twofold a develops scene the sense, that In attention. his desires she that questions, abusive almost his on giggles she how and him at looks Jasna way the holds Đole that mobile her having by position powerful only Not Đole. and Jasna between communication of logic main the as 36

For instance, she is embarrassed to tell anyone that her father is sick and dyin and sick is father her that anyone tell to embarrassed is she instance, For ne whose family does not have enough money for buying her a mobile a her buying for money enough have not does family whose ne 36 Fin her from present a as phone mobile her got Jasna how learn we this, before moment A Jasna: Iliketogetitfrombehind. (Giggle) Đo Why Jasna: Youtoldme fuckareyouin. messingwithme,Idon’tlikethat. the to come you come Đole: Ihere? meanwhy did What you?youmean whatIJasna: do want from WhatyouĐole: want do me? from

le: And what do youle: Andwhatdo like? ally , this scene constructs a paradigmatic relationship based on domination/submission on based paradigmatic relationship a constructs scene this , - diva - role also indicates Jasna’s relationship to the turbo the to relationship Jasna’s indicates also role

scene creates a paradigmatic situation which introduces all the the all introduces which situation paradigmatic a creates scene ls anxiety class

- phone and being behind the camera, but we see we but camera, the behind being and phone

54

role play role rsn i vros iutos hogot the throughout situations various in present

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as a rich div rich a as g, and how they need money for his for money need they how and g, regarding escapism a - – folk scene, which at which scene, folk

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CEU eTD Collection wants “togetfucked” or Jasna objectification, activity sexual the revea performance the ironically, likes; she to what performing continues Đole desire, sexual Jasna’s to subject the also but asked, be to gets never and questions cited above the of dialogue, case In domination. man’s of articulation every in traced be can patterns further discourses situations, of heteronormativity. theirrelationshipin anchoring to continues scene opening the from pattern The personality. and body her h telling her to abusive questions, expectations Jasna’s manipulate turbo the in associated be to masculinit violent dominant, a embodies he First, position. reco complacent stops hand, his out takes he seconds, several after Unsurprisingly, wants she that it is what again her asking panties, Jasna’s in con and inducer recipient, and referent ultimate the is he for position, powerful the holds who one the is his simulating by Performance of the Performance ofthe sumer of the heterosexual desire. Driven by the sex talk, at one point Đole puts his hand his puts Đole point one at talk, sex the by Driven desire. heterosexual the of sumer f disc If oes oiat oiin s indicated is position dominant Đole’s : “You’re good.” This statement pinpoints several things important for mapping the mapping for important things several pinpoints statement This good.” “You’re : ourse of heteronormativity is, actually, always a discourse of male power, its its power, male of discourse a always actually, is, heteronormativity of ourse action in her passivity her in action hc i spoe to supposed is which portrays herself as a passive agent in the heterosexual activity, the one who one the activity, heterosexual the in agent passive a as herself portrays

“toget itfrom behind”. (female) - ok utr. Second, culture. folk – im that she “likes to get it from behind” from behind” get it to “likes she that im

like switching the subject from him “messing with her” with her” with “messing him from subject the switching like

passive desire . In this way, even when she performs the sex action, he action, sex the performs she when even way, this In .

produce his desire. Through Through desire. his produce in the in 55

here serves to initiate the active desire in Đole, toinitiatetheactivedesire here serves in Đole, o ol te at that fact the only not sex talk sex taking y with which certain privileges come privileges certain which with y lead ls her desire triggering triggering desire her ls he subtly imposes subtly he

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from actual social/class positions. actualsocial/classpositions. from 56 e things unsaid things e

this n the scen the n approval - folk femininity folk femininity scene e before this one, Jasna gets very very gets Jasna one, this before e

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CEU eTD Collection 3.4. ‘do it’. se pursuing one, active physically the as agent active him portray which scenes Sex position. dominant a in him put which those are phone hand, s other On the her. after Đolerejects weepingher kissing, or selfall thesceneshim. Interestingly, sequences records arethoseofher and Jasna t Still, on” boys gaze’ ‘male the for performed poses recording video Jasna from Apart relationship, their therefore in position Jasna’s of affirmation Đole’s of sort a as kiss the decodes lyrics, song’s the in anticipated scene, you, for made of, made am I what see to me Hit [...] operat heterosexuality oppressive extra the with 44 2003, Kulick and (Cameron men to hierar gender the maintains status normative whose institution heterosexuality which in ways different interpret can one sense, that In 246). also is language then articulation, sound) or textual (visual, of practice semiotic a as understood is language if and 16); 1997, (Hall

S hese scenes differ from each other, depending on who holds the mobile phone, Jasna or Jasna phone, mobile the holds who on depending other, each from differ scenes hese EX VIDEO C VIDEO EX

f y rdcn maig hog lnug, ersnain ik lnug wt culture with language links representation language, through meaning producing by If in theheteronormativesociety –

her mobile phone captures many other sexual activities she carries out with Đole. Đole. with out carries she activities sexual other many captures phone mobile her –

by controlling the sexual activity according to his (hetero)sexual desire (hetero)sexual his to according activity sexual the controlling by - artv cnet f h post the of context narrative LIPS LIPS

ing as a way of hierarchical social organizing among teenagers: teenagers: among organizing social hierarchical of way a as ing x ‘from behind’, or tying a leash around her neck while they they while neck her around leash a tying or behind’, ‘from x constructing

esl i udrer i hgl sxaie ad ‘seductive’ and sexualized highly in underwear, in herself –

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5) 5) as well could be read through the opening scene which, then, then, which, scene opening the through read be could –

orders social relations in the movie, resonating also resonating movie, the in relations social orders - socialist Serbia. Two clips are indicative of the the of indicative are clips Two Serbia. socialist . 57

and organizing the social reality (Tonkiss 1998, (Tonkiss reality social the organizing and

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E xtreme ‘sexualization’ of young girls is is girls young of ‘sexualization’ xtreme ,

represented globally in MTV programs, or various youth films and TV series TV and films youth various or programs, MTV in globally represented 2) Somewhere in the middle of the movie, when Đole and Jasna had already developed already had Jasna and Đole when movie, the of middle the in Somewhere 2) drink Đole of footage short Jasna’s by preceded is clip video This 1) 37

h hs o ae od skills good have to has she (2011, D: Paul Abbott), film film Abbott), Paul D: (2011,

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19, : ar Cak, r T shows MTV or Clark), Larry D: (1995, as a way of ‘proving’ both her subcultural and youth youth and subcultural her both ‘proving’ of way a as –

a story about ‘beauties’ of Đole’s penis. But, once her her once But, penis. Đole’s of ‘beauties’ about story a

rrhcl oiin n hi sal ru o friends, of group small their in position erarchical 58 ght after which he goes without saying a word, a saying without goes he which after ght

finally - folk culture, but rather but culture, folk

ucee i atatn hm More him. attracting in succeeded

.

See, for instance, TV series series TV instance, for See, ign Terr Virgin ntering the classroom, classroom, the ntering - up changes, for this for changes, up part of part ing in the school school the in ing a itory broader youth broader -

up world up 20, D: (2007, CEU eTD Collection ‘uselessness’ of gay men for the of for men move gay of ‘uselessness’ discursive this from interpreted be also can what But, nation). the (of mothers being of honor’ the ‘deserve not do fact in ass” the in fucked “being of only ‘worth’ of origin’. burden ‘blood the its carry securing to and ones nation’ the the are‘reproducing women logic, this Following (Ibid.). nation’” ‘the of Yuval According21).to 1997, blood shared and origin common of myth the on based is which project nationalist Namely, statement. Đole’s decoding for use of Yuval Nira post nationalist, the of discourses various in ‘cultivated’ communication of code heteronormative a about meanings previous the in As boys. Đol into transform also movie illustrates, the chapter throughout next this like the statements As ‘faggot’. a and woman’ ‘dirty a as her humiliate to simpler: building nation of times the onw from culture’ ‘transitional Serbian in relations gender shaped havediscourses nationalist deeply and heteronormative Such ass”. the in “fuck they women, with - ards. In that sense, Đole’s statement is inscribed in such discourses, but his intention was far was intention his but discourses, such in inscribed is statement Đole’s sense, that In ards. conflict and transitional Serbian society; as Grujić’s (2009) study, in a way, also indicates. also way, a in study, (2009) Grujić’s as society; Serbian transitional and conflict

theass. betterthanĐole: You’re beingfucked in for nothing Jasna: Aha. yoĐole: Do

Davis’ concept of concept Davis’ that

example u like it when I you intheass? fuck itwhen u like come to be associated wit come tobe , this , - Volknation Davis, this constructs the “most exclusionary/homogenous visions “most exclusionary/homogenous visions constructs the this Davis,

‘ heteronormative nationalist project, for instead of reproducing reproducing of instead for project, nationalist heteronormative sex talk sex

– ’

is not about actual ‘fucking from behind’, but rather but behind’, from ‘fucking actual about not is a dimension of the national reproduction reproduction national the of dimension a h it. 59 Volknation

Noticeably, Đole’s value judgment depends on judgment on depends value Noticeably, Đole’s

n hs a, il/oe wo are who girls/women way, this In s gnaoia dmnin f the of dimension genealogical a is

e’s physical bullying of gay gay of bullying physical e’s othering

(Yuval –

might be might

- is the the is Davis CEU eTD Collection 3.5. instead of mo of instead way, sexist and brutal most the in Đole by rejected being after then, sickness; and poverty such grown the room.then leaves the and skills’, ‘blowing of lack her to topic the switches angrily hesitancy, no with he, and Đole, th way, video her in inscribes secretly she which Đole, for feelings Jasna’s with resonates clip this how said be could It other. each kiss and touch they how together, hands their hold they Whil up. show to decides Jasna hospital, the in t place to manages finally mother her when movie, the of end the Towards do. to things important more has always who girl teenage spoiled a like acts and help, to refuses constantly wh do to trying mother her and father, dying her with situation’ ‘home Jasna’s from sequences with juxtaposed song the her, beating is Đole while importantly, More weaknesses”. my for key the has boy] [my you except Nobody […] sick all feel I and me, touching are hands stranger’s “Two pathos: a Đole where party the at playing song the Accordingly, boy. another kissing for Jasna beats brutally Đole where scene last the to led which ofthe turbo gettinghermanback,praisedinmany strategy’ of tur she Unsurprisingly, end. the in Đole of scared got she because unsuccessful back him get and try to events t s motn t ntc hw lot vr sxal epii ad rvctv see is scene provocative and explicit sexually every almost how notice to important is It

T HE SICK FATHER SICK HE e hospital clip anticipates the next scene where Jasna at last chooses to express her love to love her express to chooses last at whereJasna scenenext the anticipates clip hospital e Both scenes are important for mapping Jasn mapping for important are scenes Both - up world up ving away from him, she decides to decides she him, from away ving tvr s n e pwr o id h mny o hs prto. oee, Jasna However, operation. his for money the find to power her in is atever . First, she realizes the love her parents have for each other, even in times of times in even other, each for have parents her love the realizes she First, .

–

first by confronting him in the school yard, which was rather was which yard, school the in him confronting by first ttacks Jasna implies jealousy as the strategy of hetero of strategy the as jealousy implies Jasna ttacks 60 e their parents talk, she secretly records the way way the records secretly she talk, parents their e

a’s change, and her and change, a’s fight for his love his for fight - folk songs folk songs . Jasna engages in series of series in engages Jasna . acceptance of acceptance –

making him jealous making jealous him ns to the ‘female the to ns - diary. In this In diary.

the rules of rules the he father he – -

CEU eTD Collection 'educated' elite toward the culture of the 'rural' and 'un of the'rural' and culture the toward elite 'educated' anti the why is That class. the of discrimination cultural silent its the negative stereotypes about turbo about stereotypes negative the her chastity andtakescareofherfamily? father’s a being not Jasna of the critique scen a implying actually that is author be opening it the Could situations. of two these aesthetic contrasts deliberately pornographic narrative the the of development mind in Having bed. the of out get to father trying sick is Jasna’s audiencesees thing scene,first the opening After everyday life. carry of instead Jasna, and if As movie. withtheviolenceandbrought together oppressi coming Jasna’s Đole, from receives she hits the of sounds disturbing with overlapping lyrics song’s the through beginning, movie’s the to parallel movie, the of end The initiation violent a as represented here is transgression a Such woman. a being coming Jasna’s to symbolically pointing woman”, am “I continues: violence turbo to relation its and not society, does heteronormative the it of complexities because question movie, the of edge critical the for potential the erases furthermore This lower/wor the from coming all dealers; drug violent as boys daughters; bad school; 38

Grujić notes on the negative discourse employed in debates on turbo on debates employed in discourse negative on the notes Grujić Following on Following o However, –

the author puts all the all puts author the author

not a girl, nor a woman, my bed is desert like a rock […] I am not a girl, nor a nor girl, a not am I […] rock a like desert is bed my woman, a nor girl, a not ne

tried to create the family atmosphere where the father/breadwinner is dying dying is father/breadwinner the where atmosphere family the create to tried

that, characters in the movie are constructed almost like repositories for all for repositories like almost constructed are movie the in characters that, may ask may - turbo

ing for her family in crisis, crisis, in family her for ing - folk discourse was very often criticized [...] for cultural racism of the 'urban' and 'urban' the of racism cultural for [...] criticized often very was discourse folk

why it is that Jasna’s father, and not mother, had to be sick in the in sick be to had mother, not and father, Jasna’s that is it why

cultural identity of the rural or semi or rural the of identity cultural blame - folk culture: promiscuous young women, disinterested for disinterested women, young promiscuous culture: folk

on the youn the on

educated' lower strata“ (2009, 50). (2009, strata“ lower educated' on oftheSerbian‘transitionalculture’. 61

- of g people represented in the movie. Finally, movie. the in represented people g - strives age, a transgression from being a girl into girl a being from transgression a age, - folk: „[It] has been subject to the criticism forcriticism the to subject been „[It] has folk: for living for - urbanized population or urban working urban or population urbanized good daughter good

a

hedonistic and hedonistic - of - age is symbolically symbolically is age

into womanhood. into - folk culture and and culture folk

who preserves who king class. king

pointless , such e, 38

CEU eTD Collection 3.6. self poses ‘sexy’, seductive, in her portray that clips video Jasna’s coming are importantfor that experiences diary introduces writing’, ‘intimate her as interpreted recording, video Jasna’s of strategy narrative The heterosexuality. gender/s turbo the employs growing of process Jasna’s illustrates ma context, cultural the engage in elements documentary way the analyzed chapter This violence similartotheone represented inthemovie’snarrative. movie the that said be could it sense that In representation. the of image the encoding and position, (class) dominant the embodying camera, the behind being of privilege the holds author the scene, opening the in Đole Like youth. class turbo the of part high/middle represent not did she why wonder but cannot one allowed which discourses, heteronormative in embededness her towards position author’s also chapter the respect, that In relationship. violent and heteronormative oppressive, witn audience domination. male of discourses of levels various reveals scene opening the in developed turbo the around emerging discourses diary several - dniiain ih ujc oiin ofrd n turbo in offered positions subject with identification

C ONCLUSION ca rltos n bodr icrie pc o htrnraiiy n oppressive and heteronormativity of space discursive broader a in relations ocial - cns lutae te em the illustrated scenes se thr esses - folk scene; for scene; folk - folk genre folk

uhu te oi, an’ ad Đole’s and Jasna’s movie, the oughout –

via film’s soundtrack and Jasna’s subcultural belonging subcultural Jasna’s and soundtrack film’s via Klip king

- looks like a subtle move of move subtle a like looks p ruh e flig n oe Mroe, h wy movie way the Moreover, love. in falling her trough up - Klip eens o te oi’ nraie n heteronormative in narrative movie’s the of bededness ok utr. h pten f edrsca relationships gender/social of pattern The culture. folk

, as a cultural product, induces a form of symbolic of form a induces product, cultural a as , scal rsosbe coming responsible socially a 62

– -

folk songs/performances. folk h video the Klip

- class young people who are also are who people young class dfeety hn in than differently , oe story love othering - ir as idcts Jasna’s indicates also diary -

of of the low/working the of represents a highly highly a represents - of - age; but age; but - g daa that drama age Analyses of Analyses tackled the the tackled iv Roš Tilva – –

through through

frames for the the for As the As - , , CEU eTD Collection Klip in youth class lower/working of representation the in moves ideological potential of analysis

.

63

CEU eTD Collection tradition, where most of the movies illustrated violence as closely and primarily related to to related primarily nationali and of phenomena closely as violence illustrated movies the of most where tradition, Roš Tilva Serbi of feature indicative most the as violence Dragojević) 100 100/Apsolutnih Absolute post places violence of theme Gummo Kaye), Tony teenage portraying cinema, British and i.e. ofviolence: variouspractices as in engaged protagonists amply American the in years twenty last the over present place symbolic throughout been stated has It participants, passive as it accept so posited here is youth violent difference: and for stands cinema global in youth the how said be subcultu could it bullying, passages, of rites through Whether culture. media global Cabaret Balkan C HAPTER HAPTER - Klip cinematography Yugoslav biul, ilne s n motn wy f ersnigcntutn yuh n films in youth representing/constructing of way important an is violence Obviously,

(1997, D: Harmony Korine), Harmony D: (1997, i ta sne bln t sc a ersnaie rcie bt ih fundamental a with but practice, representative a such to belong sense, that in ,

and and e Park Ken 4: . As a them a As . Klip

and

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Marble Ass Marble engage with the subject of violence differentiates them from the inherited inherited the from them differentiates violence of subject the with engage IOLENCE m wr ciia, r oet (ih xetos f aray mentioned, already of, exceptions (with poverty or criminal, war, sm, 20, : ar Cak E Lachman), Ed Clark, Larry D: (2002, Tilva Roš Tilva e, violence brings these films close to the (global) trend that has been been has that trend (global) the to close films these brings violence e, the

20, : ra Golubović), Srdan D: (2001, ). – and thesis how violence in violence thesis how

i.e.

and those who receive violence instead. Violence in these films these in Violence instead. violence receive who those This is England is This o h Bn/o koske Bone/Do the To Klip

ht rtgnss rdal mv aa fo i, or it, from away move gradually protagonists that

in the line of continuing the pr the continuing of line the in

64 19, : oa Paskaljević) Goran D: (1998, an post an

(2006, D: Shane Meadows) etc. Also, the the Also, etc. Meadows) Shane D: (2006, - Tilva Roš war society. war

19, : lbdn Skerlić), Slobodan D: (1997, onsRn (98 D Srđan D: (1998, Wounds/Rane

and Kids American History X American

At the same time, the way way the time, same the At Klip actively viole actively

a blnig o school or belonging, ral 19, : ar Clark), Larry D: (1995,

occupies evious tradition of tradition evious –

that represents represents that nt an important an important .

Tilva Roš Tilva (1998 The , D:

in in CEU eTD Collection 4.1. the physical violenceprotagonists accept to coming protagonists’ for means it what and t to correspond represented is violence that group ways the on light some shed here will I experiences. meanings different signaling beginnings, films’ the violence. accepting/receiving for capacity their see be also they for violence, physical cinematographies. about us tell that and (post)Y in cinematographies violence representing of way dominant previous the to regards in change physical and accepting, growing protagonists’ of part a all, above is, join. or attacking,andrest of themwillimmediately the provoking with start to boys the of one for enough is it same: the is violence in participating for engage theirviolent aims of turbo in boys than differently violence in participate subculture skate from Boys subcultures. to related closely as represented is violence group films both In Klip

G ROUP VIOLENCE ROUP Toda’s and Jasna’s participation in violent events violent in participation Jasna’s and Toda’s , what purpose do they have in regards to protagonists’ coming protagonists’ to regards in have they do purpose what , n as active, in a sense that they provoke violence from other people, in order to show show to order in people, other from violence provoke they that sense a in active, as n and appropriating, the world of ‘grown of world the appropriating, and

ilne throughout violence . In that respect, this chapter explores different forms of violence in violence of forms different explores chapter this respect, that In .

hne in changes

constantly ments are, at best, different. However, the logic of mobilizing a group agroup mobilizing thelogicof However, different. ments are,atbest,

film h respective the

ersnain o you of representations receive it receive

- participate in. of - - p xeine wee t ucin as functions it where experience, up age; so as what kinds of symbolic violence reflect violence symbolic of kinds what as so age; 65 Their provocations, however, slowly change from from change slowly however, provocations, Their

throughout films throughout

- im. hs niae a ahr paradigmatic rather a indicates This films. ups ’. Toda and Jasna receive both symbolic symbolic both receive Jasna and Toda ’.

can

h n voec i post in violence and th be seen as seen be . - ok uclue maig that meaning subculture, folk But , their participation should should participation their

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in these films, films, these in a - Tilva Roš Tilva Yugoslav en of means ugoslav ugoslav - the the up up

CEU eTD Collection his and Stefan’s act from the karaoke performance. With receiving hits from the organizer, Toda Toda organizer, the from hits receiving With performance. karaoke the from act Stefan’s and his e through communicates Jackass humor which to similarperformance, employing jokes subcultural manmuchhis friendstostop:“Let go.Let’sseehow morehecanbeatme.” the ask calmly Toda while fight, massive a into gets group whole the Finally, flowers. him offering counter a for friends his organ The violence. and profiteering, (turbo or “kafana” typical a represents who man a was it case, this In violently. react will they that knows pro intentionally Toda Importantly, rose. a him offering by way: ironic very a in but apologizing, on insisting building, the of front in organizer the meets Toda w boys ritual’, ‘mocking the of part As way. disinterested and funny a in song a pop Balkan famous performing by event the satirizing way, a in and, it of fun making of intentions with show, functio the in still here is beating his provoking in engagement Toda’s ones, first the among is scene this Because culture’. ‘transitional of context the with engagement critical of means a as functioning way, this In violently. them who treated police the to flowers giving were students when Belgrade, in demonstrations 1990s the during act symbolic the evokes flowers offering of act Toda’s hand, other the On him. illustrates level another on him humiliates lements of violence. Purposefully continuing to humiliate the organizer, Toda actually continues actually organizer, Toda the humiliate to continuingPurposefully violence. of lements ere also publically insulting the organizer who introduced them on the stage. After the show, the After stage. the on them introduced who organizer the insulting publically also ere o hs uclua gop dniiain Ti cn e ed n h lgt f h scene the of light the in read be can This identification. group subcultural his of n hs scene This pa first the in Somewhere - ok dso we, n rniinl eba sal ascae wt post with associated usually Serbia transitional in owner, disco folk) induces - attack. Still, Toda rejects their help, continuing to provoke the man with man the provoke to continuing help, their rejects Toda Still, attack.

a twofold – rt of rt

by showing how he acts precis acts he how showing by izer, expectedly, attacks Toda, which immediately activates immediately which Toda, attacks expectedly, izer, Tilva Roš Tilva

the scene also employs some documentary elements, elements, documentary some employs also scene the yblc O te n ad i cn e ed s Toda’s as read be can it hand, on the On symbolic. 66 , Toda and Stefan participate in the local karaoke local the in participate Stefan and Toda ,

ely the way stereotypical image stereotypical way the ely vokes people for whom he he whom for people vokes

- war criminal, criminal, war s CEU eTD Collection in the school, Đole starts verbally molesting a boy in the school yard, in front of everyone. He everyone. of front in yard, school the in boy a molesting verbally starts Đole school, the in oppressive and violence group in represented relations both gender/social in omnipresent heterosexuality of indicative very is scenes bullying the of One gay’. i engage unsurprisingly, friends, Đole’s boys. gay and girls against violence physical into transform statements fascist sometimes, and, sexist Đole’s earlier, indicated As motivations. opposite with but mobilization, it. f his to closer marginality of embracement slow his and friends, and Stefan from disassociation his indicates man, karaoke compl to not does utterly his to due As street. the on spots group the whom man karaoke the attack and revenge to refuses Toda when movie, the of end the to close somewhere world teenage of ordering hierarchical the of means as relations heterosexual oppressive deeply to points again, once orally, (Đole) pleasures who girl a imitating for demand a Evidently, hu boy’s the to contributing laugh, others while that,” Like tongue! your “Move insists: Đole orally. man a pleasures who movie porno in the girl and imitatea knees,go his on to the boyĐole demands one point, At boy. sp public the join boys other Gradually, him. answering not of boy the ‘accuse’ could he that so answered, be cannot which questions absurd asks insistently

Klip etely move away from the group, the from away move etely rely

ather’s, for like his father, Toda father, his like for ather’s, exclusively upon subcultural identification anymore. As if he needed needed he if As anymore. identification subcultural upon exclusively so that he could assert could he that so rsns s with us presents m arginal position in the society the in position arginal n violence the same way he does, attacking gay boys, or those who ‘seem those who or boys, gay attacking he does, way violence thesame n miliation. In the end, Đole and friends throw a boy in a container. container. a in boy a throw friends and Đole end, the In miliation.

cns f group of scenes his marginality in its entirety. its in marginality his

and

receives Toda 67 p rimarily from from rimarily

his

gradually recognizes througho recognizes gradually masculine identity masculine ilne ae o te iia lgc of logic similar the on based violence

(symbolic ectacle, helping Đole by pushing the pushing by Đole helping ectacle, Stefan who lead who Stefan ) violence rather than producing than rather violence ) In this way, Toda once again once Toda way, this In Klip

changes in a way that he that way a in changes . During a lunch bre lunch a During . the attack on the the on attack the ut the movie, the ut in this scene scene this in in Klip ak ak .

CEU eTD Collection 4.2. which she is there to ‘nurture’, for which sheisthere to‘nurture’, position dominant ultimately Đole’s recognizes she viewer, a as where, relations gender/social love (submiss of act an as violence: him hitting by first Đole confronts and blood, in covered floor, the from up gets Jasna when scene last film’s the to back thus, girlfriend’; his ‘becoming by and victim his as appropriates she end, the in which, masculinity, Đole’s of part ‘expected’ an as violence such understands Jasna events, such recording video sym By classrooms. school demolish boys other and Đole supportive while screaming girlfriends and her Jasna audience witnesses scenes two Moreover, in treated like deserve tobe they that implying enough’, as ‘manly not are Jasna,who boys other also over but illustrated, chapter previous only not domination masculine) (heterosexist his practices Đole way, this In activity sexual their and Jasna of recording video Đole’s illustrated, chapter previous the as Also, humiliated. or mocked, being without answer cannot she which questions abusive of Almo sort relations. any in violent symbolically Đole in herself situates repeatedly with Jasna her, rejects he engaging when even relationship, on persisting With relations. sexual confrontations, bet tensions provokes constantly Jasna In (physical) violence. provoke urge to protagonists’ to closely related is violence Symbolic . In this way, group violence scenes in scenes violence group way, this In . Jasna how then, said, be could It diary’. ‘intimate her in violence for space creates bolically

S YMBOLIC VIOLENCE YMBOLIC Jasna participates in participates Jasna st all the way throughout the movie, Đole verbally molests Jasna, by posing posing by Jasna, molests verbally Đole movie, the throughout way the all st weakly ‘ girls

such actions exclusively as a viewer, and, consequently, a supporter. a consequently, and, viewer, a as exclusively actions such

’ . ive) belonging to ‘her man’, an act of act an man’, ‘her to belonging ive) , and then kissing him; Jasna illustrates the way she understands understands she way the illustrates Jasna him; kissing then and ,

she loves somuchthatshewoulddoanythingforhim she him ween Đole and her, through insisting on their meetings, their on insisting through her, and Đole ween Klip 68

ev afr fJsas ntainit violent into initiation Jasna’s of form a serve

by ‘becoming a woman’. Going Going woman’. a ‘becoming by complete

surrendering in surrendering indicates indicates . Klip

, , CEU eTD Collection i fte i sfeig s el Smoi voec in violence Symbolic well. as suffering is father his pain the of limits his test possibilitie his as much could as tolerance, he that so violence physical in engages Toda violence, of forms symbolic the from suffering continuous assumes which marginality, his of understanding self of out carrying Toda’s on, later and, hurt; getting audience Toda only sees trickperformances,inwhich his is followedby This man, andhisfather. parents her e love romantic of idea the by fooled dupe, young a as Jasna constructs inevitably however, This, violent. deeply being youthfor the criticizing of way another as serves generation b could It good’. and sickness romantic, a represent movie the in who parents, Jasna’s hetero fundamental a for model structural primary the heterono the of functioning of form a as violence physical Đole’s of acceptance Jasna’s in epitomize finally, dominance, Đole’s of forms symbolic These violence. psychological, often and symbolic, of reception passive Jasna’s of level another yet is he which in livelihood, his against self of rituals intimate Toda’s their for competing’ ‘equal presumed of possibilities offer not do positions ‘grown the of organizing hierarchical social of way main a becomes stronger’ ‘the of rule market neoliberal way, this In generated which economy, market to command state’s from change dramatic the of product a as interpreted mbody. Toda, on the contrary, provokes mainly physical violence from other people otherpeople from violence physical provokes mainly the contrary, Toda, on

elements of the ‘wild capitalism’, followed by corruption, and massive unemployment. unemployment. massive and corruption, by followed capitalism’, ‘wild the of elements - p ol’ idcn smoi voec oe people over violence symbolic inducing world’, up - si hw uh daai cnrsig f h prn ad youth and parent the of contrasting dramatic a such how said e mutilation, in that sense, can be analyzed as symbolic protests protests symbolic as analyzed be can sense, that in mutilation, s of accepting the world of grown of world the accepting of s forced

to

grow up, lose his best friend and the girl he likes, he girl the and friend best his lose up, grow 69

- Tilva - ahs oe fo te eainhp of relationship the from comes pathos harm unbreakable love, unbreakable rmative love relationship. Ironically, relationship. love rmative

Roš

practices. Given Toda’s gradual gradual Toda’s Given practices. ’s social environment can be be can environment social ’s - ups, in which he realizes he which in ups,

social marketability social staying together ‘in together staying hs social whose –

the karaoke the karaoke . CEU eTD Collection 4.3. appropriating ‘suitable’ and ‘expected’ patterns of behavior in the world of adults, deeply marked marked deeply adults, world of in the behavior of patterns ‘expected’ and ‘suitable’ appropriating violence way, this In violence. physical and symbolic grown the into protagonists initiating of form still accordingly, of deeply conflictuospresent and past, conflictuos society’s Serbian of telling very be also can violence group hand, other the On world. the around youth the among lifestyle certain a as appropriated culture media global the linkbetween attention into hand,brings the one on This, violence. massive in engaging for reasons adequate are is enemy common principle and/or belonging the defends, or attacks, group the whether showed, chapter this in examples analyzed As violence. for mobilized gets group (teenage) way the illustrate films Both a sym as away ofappropriating ofthegrown violence mutilation can beseen self his hand, other the On society. transitional Serbian in position marginal ultimate his to due it engagement, social films’ the Given fil these how, and whether, tradition, inrelationtowhatthesefilms as areposited certain indicates cinema Serbian in youth and violence representing of way a Such inequalities. gender and class with

C bol of Toda’s coming bol ofToda’s ONCLUDING REMARKS REMARKS ONCLUDING eetees ti catr niae te as ru voec i teefls serves films these in violence group ways the indicated chapter this Nevertheless, aig n id the mind in Having –

via youth films, but also TV prog TV also but films, youth via

iascain fo te rvos ps)uolv cinematographic (post)Yugoslav previous the from disassociations - of

s n ter yug atos usin h odr eeain’ past. generations’ older the question authors (young) their and ms

oeta in potential ‘transitional culture’. - age intransitionalculture.

ol as b akd f h authors, the if asked be also could

paig bu gnrtoa fls i cud e asked be could it films, generational about speaking 70 -

p ol, hpd y vrdy rcie of practices everyday by shaped world, up

new t

h in e

rams such as such rams Tilva Roš Tilva and in strongly present violence, youthand

different

and - . up world, and therefore as up world,andthereforeas

Jackass Klip

h belong who becomes a way of way a becomes , which becomes becomes which ,

ae group same:

o the to as a - CEU eTD Collection practices transition of aspects problematic other dominant the as war of narrative from the to moveaway decides young authors of generation this Essentially, even more. growing voice generational in. embedded genuinely neo with coherence opposite, the Quite organization. societal society. symbolize protagonists Importantly, symbolically to supposed are which identities subcultural different embodying transition, in up growing and born generation’, post the post after generation’ ‘second

- - hi subcultur Their conflict p n utter in up of other East European other countries. East of

rather desperate social positioning in the hierarchical and heteronormative transitional heteronormative and hierarchical the in positioning social desperate rather

set f rniinl culture transitional of aspect

y ntbe cnmc conditions economic unstable ly hc tis o pa o crety oe unn sca polm, uh as such problems, social burning more currently of speak to tries which - iea ad ainl ideologies national and liberal al belonging challenges neither class differences, nor heteronormative heteronormative nor differences, class neither challenges belonging al perspective Such do not succeed in challenging the past they inherited. Toda and Jasna and Toda inherited. they past the challenging in succeed not do - challenge Yugoslav wars, employ in ‘solving’, criticizing or problematizing or criticizing ‘solving’, in employ wars, Yugoslav rpeetto o Srin rniin i fact, in transition, Serbian of representation a

o itrrtn Srin rniinl oit, n embrace and society, transitional Serbian interpreting for

the contradictions/pr the .

This

oh kt ad turbo and skate both Te yo The . a te ae ie big te coe t film to closer them brings time, same the at , 71

i wih eba tastoa society transitional Serbian which in ,

that t i bt fls ersns this represents films both in uth

deepen oblems of their parents’ generat parents’ their of oblems - folk subcultures seem to be in in be to seem subcultures folk

gende ad ls inequalities class and r nrdcs a introduces

‘second new new ion. is is s

CEU eTD Collection disc int story age theYugoslavmoves tradition. ofnationalizing Yugosl of influence fundamental for allowed importantly, more and, culture, Serbian in affairs of state current instead. frameworks European such question to was intention film’ Serbian Yugoslav previous hand, one the coming international on famous the of most which, from them differentiate elements documentary include also films these genre, cinematic as films, Serbian recent two of case the explored thesis This respected conflicts/relat their and culture youth representing coming political problems. transitional recognized I transitions, coming C ONCLUSION examples vrn ta ms o te so the of most that overing - I argued that t that argued I of

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