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In socialism, Yugoslav women became empowered by employment and income, but gender equality stayed rather nominal in the family domain. Such gender inequity is addressed in the works of the Yugoslav  novi film / New Film  (1961–72) auteurs. They occasionally turned to allegories in order to communicate political criticism. One of them was Želimir Žilnik. His most internationally lauded film, winner of the Golden Bear in 1969, is  Rani radovi/Early Works  (1969). It features a heroine Jugoslava (Milja Vujanović), whose name is eponymous of Yugoslav nation. Bearing in mind that in the majority of Yugoslav  New Films  a leading character is a man,  Early Works  is exceptional for having a woman as the main heroine. I will approach Jugoslava’s character: as an allegory of Yugoslavia and its revolutionary spirit, as well as a prototype of an emancipated woman, punished by rape and killing. My research studies the link in the film between Žilnik’s political critique via strong heroine as a proxy, and her objectification. By reading the film from a feminist perspective and building my arguments on close analysis, I contend that Jugoslava is concurrently empowered and disempowered, an active subject and sexually objectified object, a raped nation and a raped feminist.

Yugoslav(i)a on the margin: sexual taboos, representation, nation and emancipation in Želimir Žilnik’s Early Works (1969)