Home Movies and Cinematic Memories: Fixing the Gaze on Vukica Đilas and Tatjana Ivančić

Abstract

The remarkable films of Vukica Đilas and Tatjana Ivančić have been largely omitted from Yugoslav avant-garde film historiographies. This chapter outlines their creative trajectories within the thriving scenes of 1970s experimental and amateur filmmaking, focusing on the opportunities and limitations they faced within these milieus and relating their work to two central theoretical concepts of Yugoslav experimental cinema: the Antifilm and the fixation film. As the chapter argues, while Đilas and Ivančić were never closely associated with these theories, they nevertheless provided apt frameworks for their fascinating oeuvres as concepts carrying implicit feminist potential. Ultimately, the chapter proposes alternative understandings of women’s filmmaking under socialism, away from habitual frameworks of Western “feminism.”