Slovene "partisan" film is a term, which denotes films about guerilla war fought by the communist-led "partisans" against the German and Italian occupying forces in Slovenia during WWII. These films have been already lookedat from many theoretical angles, but in the context of recent interest in various forms of representations, and therefore constructions of gender identities, it should be intereseting to scrutinize them also form this perspective: how do these films represent femininity and masculinity? Analyzing all the feature films in this genre, author of the article argues that on both levels of interest, that is on the level of lead action and on the level of the very terms of construction of gender identities, the regime of representation is rather ambiguous. On the one hand, heroes are usually male, but women also tend to participate in the action, sometimes even making the crucial moves, the ones which enable the partisan side to win at the end, and on the other hand, while both male and female characters are predominantlyconstructed in terms of traditional signifiers of masculinity or femininity, the image of strong and dominating male hero has deteriorated significantly in the films made after the late 1960s, and the pattern of representation of women as basically "mothers" also does not mean that they are portrayed as entirely passive or dependant creatures.
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