20.500.12556/RUL-22436 Podobe emancipacije? Reprezentacija ženskosti in moškosti v slovenskem partizanskem filmu Tekst obravnava vzorce reprezentacije spolnih identitet v slovenskem partizanskem filmu. Analiza vseh slovenskih celovečernih partizanskih filmov kaže, da režim prikaza ženskosti in moškosti v tem žanru na obeh oseh analize - na osi nosilnega delovanja in osi same konstrukcije ženskosti oziroma moškosti - ni enoznačen. Na ravni delovanja je tako mogoče razbrati, da so moški liki običajno glavni junaki filmov, nosilci delovanja, da pa v številnih filmih tudi ženske vsaj občasno prevzemajo iniciativo, vlečejo ključne poteze, predvsem pa so pogosto postavljene na mesto tiste moralne avtoritete, ki šele strukturira simbolni univerzum, znotraj katerega delujejo moški junaki, na ravni konstrukcije spolnih identitet pa so moški junaki resda vsaj do konca šestdesetih let portretirani v terminih izrazito klasičnih označevalcev moškosti, ženske pa vseskozi v tesni navezi s tradicionalno označitvijo ženske kot matere, a koherentna podoba kremenitega moža se konec šestdesetih močno skrha, redukcija ženske zgolj na mater pa v slovenskem partizanskem filmu očitno tudi ne pomeni njene enoznačne podreditve moškim junakom. 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. true false false Slovenski jezik Neznan jezik Delo ni kategorizirano 2014-07-11 14:26:33 2014-07-11 14:26:33 2022-06-01 03:40:23 0000-00-00 00:00:00 2005 0 0 Str. 345-364 št. 2/3 Letn. 42 apr./jun. 2005 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 316.7 0040-3598 24243037 http://dk.fdv.uni-lj.si/db/pdfs/tip20052-3_Stankovic.pdf 1 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=22436 Fakulteta za družbene vede 0 0 0