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Subscribe in print today! This was, at the same time, a fight for social revolution, the democratization of the economy, and the complete emancipation of a semifeudal and largely illiterate society.

Despite these successes, historical revisionism is today rampant in the former Yugoslavia. It is most visible in the relativization and denial of the crimes perpetrated by fascist movements, which works in tandem with a mounting hostility toward national minorities and migrants, and a steady rise of the Right, also characteristic of most European countries today.

But this process first began with the mass destruction of anti-fascist monuments — in Croatia alone, more than 3, monuments have been destroyed.

It provides a pioneering analysis of partisan photography in the former Yugoslavia during World War II, while seeking to portray the historic context and production conditions in which partisan photography was born.

Partisan cultural production was at the core of Yugoslav revolutionary and anti-fascist activity, with the goal of agitating the population, spreading literacy, promoting political activism, and attaining emancipation.

The protagonists of partisan art included cultural workers and amateurs, but also authors who did not have any specific professional or occupational knowledge.

The partisan photography of World War II sought to spread the revolutionary message — but it was also an attempt to democratize culture itself. The Yugoslav partisans were hardly the first revolutionaries to use photography in this manner.

Red Light starts off with an analysis of the role of photography in the Paris Commune — the first photographically documented revolution — and a short overview of photography between the world wars.

The basic role of partisan photography was to win not just the armed conflict, but also a battle occurring at the level of representation.

The partisans sought to fight on this terrain despite their material and technical limitations; indeed, they could not compete with the propaganda machine of their superior domestic enemies, or still less with the Nazis, who saw photography as a literal weapon to be wielded by well-organized propaganda units Propagandakompanien der Wehrmacht.

Yet, Red Light argues that partisan photography ought not to be seen exclusively through the prism of agitation and propaganda, and questions the political significance of photography as a medium.

As well as educated photographers who were part of the movement, other partisans were trained in using cameras. The photographs that were produced provided material for the creation of bulletin boards, newspapers, and photo albums.

Photography was used in the production of falsified documents, in the creation of a partisan archive, and finally for exhibitions held in cities and even the forests of liberated areas.

At first, partisan photography operated outside of any centralized propaganda system and was left to the photographers themselves, with no supervision of their work until The book recognizes the fact that partisan photography was characterized by its social role, its propagandistic function, and its very poor conditions of production.

But it also tries to grasp the topic at a more holistic level, in order to understand its artistic and documentary value. From a propaganda standpoint, photography was primarily a semantic carrier of the message of building a new world — but it also served to agitate the wider masses to help build that world.

Throughout World War II, the partisan photographer faced the threat of their negatives being destroyed, and was therefore unable to create an archive — indeed, there was also the strong possibility of the photographer himself being eliminated.

This is, in part, the reason for the great freedom of the partisan photographer, and the plurality of opinions visible in the surviving negatives.

The political importance of these photographic efforts is partly apparent in the fact that the Yugoslav news agency Tanjug was established as early as November 5, — four years before the first international photography agency, Magnum Photos.

Many partisan photographers learned their trade during the war as reportage photographers, which took place just four years after the establishment of Life magazine, a new publication that laid the foundations for photojournalism as we know it today.

Many of the photographs in this book do not have a credited author — but that should not be viewed only as a shortcoming. In the fight against fascism, most photographers followed a common idea and motivation, undertaking collective action in pursuit of a clear and shared goal.

Seeking out the material for Red Light was done at a time when partisan photography — alongside partisan and Yugoslav heritage more broadly — has become unwanted in the countries built on the ruins of socialist Yugoslavia.

Many archives are closed off to researchers, and even the publication of a book like this one is hailed as an act of civic courage.

A large part of the archive, especially the negatives and photographs, has not been adequately preserved and has been left to slowly disappear.

That is why the presentation of these photographs today represents a confrontation with revisionist narratives — a fight to uphold the legacy of the freedom fighter, today portrayed as a terrorist.

Red Light is a story of a movement that managed to create a systematic means of portraying its battles — and its own contradictions — even faced with seemingly impossible conditions.

To a certain degree, it also confronts the colonizing view of the Balkans as a place of intolerance and inner conflict. These photographs tell the story of a victorious fight against a much stronger enemy, achieving the ideal of brotherhood and unity and lasting peace.

The central place of photography in contemporary social and political conflicts invites the question of its potential to change public opinion, open spaces of public discussion, and promote solidarity across national borders.

And to explain how the battle for representation can be won — whether it is a partisan struggle for freedom, or the struggles of other social and revolutionary movements today.

The Revolution in Photography The Yugoslav partisans were hardly the first revolutionaries to use photography in this manner. The Partisan Archive The political importance of these photographic efforts is partly apparent in the fact that the Yugoslav news agency Tanjug was established as early as November 5, — four years before the first international photography agency, Magnum Photos.

Detail from the exhibition of partisan photography held in Livno, Bosnia and Herzegovina, November 27, Author unknown. The exhibition was organized in honor of the second session of the Anti-Fascist Council for the National Liberation of Yugoslavia.

Due to poor production conditions, the photographs were extremely difficult to print, so they were most often used to make wall newspapers and exhibitions, which were organized in the liberated territory and sometimes in the forest.

Skrigin left Zagreb together with a group of cultural workers from the Croatian National Theater on April 22, , after which they founded the first partisan cultural institution, the Theater of the National Liberation of Yugoslavia.

Not really the competition between prostitutes, but competition between pimps. Besides that, to "work" in exclusive hotels, it is necessary to prepare the field.

Of course, it costs. Besides that, pimp takes a massive part for protection. Prostitute is left at the end with the lowest amount, even though she gives the most.

If you want, we can go to Esplanada and you can talk to some of them. In front of Esplanada crowded, like any other night. Zlatko comes inside and soon returns with a girl in a mini-mini skirt.

Zlatko brings her to the car where we are waiting for her. It is Zlatko's "Zastava ". No one called me "lady" for two years, since i came here from Sarajevo.

I came to Zagreb. Five to ten thousands per job. Then police caught me. I got a month in jail. After that i continued.

There i met Frankec. He knew half of Zagreb. He became my friend. I would give him almost all the money i got, in return, he "protected" me and found me better customers occasionally, the ones with thicker wallets, mostly from abroad.

When i got in fight with Frankec, Zlatko took me in. The rest you already know. She put out the cigarette in the ashtray, opened the door and went out.

She turned once again before she mingled with the crowd in front of Esplanada. Only, its a difficult job, boys, i tell you because i know.

When there are no customers there is nothing to eat. Then they go with the first one that meet on the street for dinars, or even old dinars, or for a dinner.

Most of these girls don't have any education, then the workers come, qualified and unskilled ones, then house keepers, high school students and students, mostly the ones that came from the inside of the country.

They start when they are out of money, thinking "it will only be for one time, or twice", most of them never stop. That's right boys, i tell you.

Those are the lowest. Guest doesn't want any embarrassment. And precisely those girls are under my protection. They are all young , beautiful, hot girls.

Mostly highly educated or at least with some high school. Most of them are married women. Their husbands are often absent, mostly going abroad.

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