The films Valley of Peace (1956), Jagoš i Uglješa (1976), Tit for Tat (1978), and A Great Guy at Heart (1981) represent exceptions among the Yugoslav film canon because they include Black actors among their casts. Given that the majority of Yugoslavs were racialized as “white,” the Black actors in these films emerge as a type of filmic device, providing social commentary on the post-World War II geopolitical priorities of Yugoslavia, including antiracism, international nonalignment, and Third World solidarity. Film was easy to distribute and consume and it became integral to the creation and maintenance of post-WWII Yugoslav culture. Through its content, storylines, and plot, an image of the idealized national Yugoslav body emerged that included Black men. In this article, I analyze the aforementioned films against the backdrop of the goals and traditional frames of Yugoslav cinema to highlight and offer insight into the uses and symbolism of blackness on screen.
