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Ana Opalić is a photographer and filmmaker who documents and records personal elements of her life that reflect the passage of time. Whether she focuses on relationships, her connection to nature or her sense of belonging and home, her photographs reflect a genuine respect to the people and places around her with a quiet and subtle attention to detail. Most of her photography series are considered to be an ongoing work in progress.

Fotografkinja koja piše pop pjesme i svira klavijature, Dubrovkinja u Zagrebu, diplomirana TV i filmska snimateljica, pasionirana vrtlarica, predstavnica Hrvatske na 50. venecijanskom bijenalu, redateljica dva dokumentarna filma, pokretačica portala za domaću fotografiju, vlasnica psa, dobitnica druge T-HT nagrade… sve nabrojeno samo su neki od brojnih identiteta Ane Opalić, autorice s kojom smo o svim tim identitetima porazgovarali u intervjuu koji slijedi.  

Observing the sequence of photographs of Brsalje initiates in the viewer, among other things, questions about borders: the borders of the frame, of the sky and the sea, of the time of the events therein, as well as the constitution of the borders of our own vision and being within time. of the frame, of the sky and the sea, of the time of the events therein, as well as the constitution of the borders of our own vision and being within time.

ispitivanje kategorije identiteta (Danče, Lokrum, Petka, Kalamota..), gotovo metafizičkog pristupa kao u seriji Brsalje, pa sve do sve do zahvaćanja u priču i memoriju mjesta kao što je slučaj sa serijom fotografija Poslije snimljenih na Srđu i okolnim brdima.

Without her more feminine qualities, Bernadette would not appeal to Howard, though without her intelligence and career, he could not be cared for as well as he is.

Situation comedies reflect the front edge of progressiveness in responding to so-cial changes, while at the same time re-inforcing the social norms pushing up behind them.

Since her intelligence poses a potential threat to Howard’s masculin-ity, Bernadette subsumes it in order to preserve gender expectations

roles are thrust upon her, she resists. Furthermore, she assumes a more traditional masculine role in that she is the breadwinner and the financial manager, which suggests her power in the relationship.

Though, she, too, retains an awkardness related to intelligence, she still attempts to normalize Sheldon into a more traditional, masculine role

men exercised the power over the family, while women catered to supporting men’s needs.

Her naïvete is revealed through her mistakes in the lab, which border on potentially dangerous outcomes (such as crossing viruses) or on careless prac-tices (such as celebrating with contami-nated beakers). The comments evoke laughter about these mistakes, but an awkwardness about them remains.

Bernadette’s career and achievements only get spo-ken of, and even then, those mentions usually bear some comedic implication

One, these “comedic strategies” highlight social issues (Dow, “Femininity” 147). Two, while these strategies possess the potential to appear subversive or pro-gressive,

Roles for female characters in early sitcoms were domestic ones, such as housekeeper and child care-taker as in I Love Lucy (1951–1957), The Brady Bunch (1969–1974), and Leave It to Beaver (1957–1963). These domestic restrictions limited the range of oppor-tunities and expression available in that these women received little power and supported others in their roles as wives and mothers (Dow, “Hegemony” 264).