Stop motion masculinity

2012 ◽  
Vol 3 (1) ◽  
pp. 75-78
Author(s):  
Nathan Shaw
Keyword(s):  
New Wave ◽  
Mise En Scene ◽  
Stop Motion ◽  
Romanian Cinema

Since the mid-2000s Romanian cinema has, on all levels, been gripped by a new wave characterized by austerity, unflinching realism and a bleak, deeply metaphoric mise-en-scène. This is a style that is both prevalent in and enhanced by the exhibition of masculinity in crisis as shown in The Cage.

Romania: Transnational and National Tensions Beyond the New Wave

2020 ◽  
pp. 172-189
Author(s):  
Raluca Iacob
Keyword(s):  
New Wave ◽  
Film Festival ◽  
Popular Films ◽  
Limited Output ◽  
Romanian Cinema

The chapter on Romania examines post 2008 Romanian cinema through the dual prism of its film festival successes and the developing strand of genre-based popular films. Offering an account that goes beyond the critical successes of the New Wave films, the chapter discusses the difficulty of national productions to reach local audiences despite the increased adoption of genre. It also provides some explanations for the limited output of Romanian cinema, which is notable despite the increase in European and Balkan co-productions.

Romanian Cinema

2015 ◽  
Author(s):  
Constantin Parvulescu
Keyword(s):  
English Language ◽  
Turning Point ◽  
Media Theory ◽  
New Wave ◽  
National Cinema ◽  
International Visibility ◽  
Academic Scholarship ◽  
The 1960S ◽  
Romanian Cinema ◽  
International Representation

Until the second decade of the 21st century, scholarship on Romanian film has been written almost exclusively in Romanian. Its pioneering representatives were D. I. Suchianu and Ion Cantacuzino, who published their first books in the 1930s. Since Romania had not generated consistent cinematic output until the 1950s, its historical studies came out also late, in the 1960s. The year 1989 was another turning point in Romanian film historiography, spurring post-socialist reconsiderations, and so was 1996, when the celebration of one hundred years of Romanian cinema triggered the publication of several historical studies. Consistent international representation started in the late 2000s, prompted by the international visibility of the New Romanian Cinema (also known as the Romanian New Wave). Since then, English-language film magazines delivered reviews of every new Romanian production, and academic scholarship started to yield its first articles. Soon, interest in Romanian film traditions also surged (both in Romania and abroad), coupled with a concentrated effort of the Romanian state to promote its cinema, both new and old. Romanian film is still approached mainly in the framework of national cinema, but recent studies tend to broaden the perspective and employ comparative, transnational, intermedial, and media-theory perspectives.

scholarly journals Między minimalizmem a melodramatem. Przestrzeń filmowa w kinie rumuńskiej nowej fali

2020 ◽  
Vol 27 (36) ◽  
pp. 71-92
Author(s):  
Adam Domalewski
Keyword(s):  
Public Spaces ◽  
New Wave ◽  
The Past ◽  
Starting Point ◽  
Film Images ◽  
Mise En Scene ◽  
Private And Public ◽  
New Wave Cinema ◽  
The Times ◽  
Nicolae Ceausescu

The starting point for considering the means of creating and designing a film space in Romanian New Wave cinema is the thesis that Romanian film art in the 21st century is an artistic response to the times of communism and that images of the post-socialist architectural space – their multi-faceted functionalization in film mise-en-scéne – are the key method of evoking memories of the past. The article discusses, via the example of movies by Crisitian Mungiu, Corneliu Porumboiu and Cristi Puiu, (1) ways of depicting the “closing” of film characters in the cramped interiors of their apartments and (2) film images of individuals’ alienation in public spaces, both of them allusively referring to the times of the oppressive Nicolae Ceaușescu regime. The most important cinematographic devices used bythe authors of the Romanian New Wave cinema include: seemingly static shots, which, however, are filmed with a camera that is constantly gently moving and observing, and tableau shots. A common feature of all the considered works is the panopticism of the film world: the private and public spaces designed in them easily become a place of constant, panoptical observation. In the summary, theauthor remarks on and briefly discusses the coexistence of the aesthetics of minimalism / realism with the melodramatic elements in the cinematic structure of Romanian New Wave films.

scholarly journals Magic Realism, Minimalist Realism and the Figuration of the Tableau in Contemporary Hungarian and Romanian Cinema

2016 ◽  
Vol 12 (1) ◽  
pp. 87-114 ◽  
Author(s):  
Judit Pieldner
Keyword(s):  
Traumatic Experiences ◽  
Eastern European ◽  
New Wave ◽  
Magic Realism ◽  
The Real ◽  
Modes Of Representation ◽  
Tableaux Vivants ◽  
Romanian Cinema ◽  
A Site ◽  
High Degree

Abstract The paper surveys two modes of representation present in contemporary Hungarian and Romanian cinema, namely magic realism and minimalist realism, as two ways of rendering the “real” in the Central Eastern European geocultural context. New Hungarian Film tends to display narratives that share the features of what is generally assumed as being magic realist, accompanied by a high degree of stylization, while New Romanian Cinema is more attracted to creating austere, micro-realistic universes. The paper argues that albeit apparently being forking modes of representation that traverse distinct routes, magic realism and minimalist realism share a set of common elements and, what this study especially focuses on, converge in the preference for the tableau aesthetic. The paper examines the role of tableau compositions and tableaux vivants in representative films of the Young Hungarian Film and the Romanian New Wave, namely Szabolcs Hajdu’s Bibliothèque Pascal (2010) and Cristian Mungiu’s Beyond the Hills (După dealuri, 2012). An excessive use of the tableau can be detected in both films, with many thematic connections, in subtle interwovenness with female identiy and corporeality performed as a site of traumatic experiences, upon which (institutional, colonial) power relations are reinscribed. The tableau as a figuration of intermediality performs the tension between the sensation of the “real” and its reframed image, and proves especially suitable for mediating between low-key realism and highly stylized forms.1

scholarly journals ‘Montage, My Fine Care’: Realism, Surrealism and Postmodernism after Bazin

2016 ◽  
Author(s):  
Ramona Fotiade
Keyword(s):  
New Wave ◽  
French Cinema ◽  
Avant Garde ◽  
The Past ◽  
Mise En Scene ◽  
Shot Transitions ◽  
Time Image ◽  
Silent Era

The title of this chapter takes its cue from one of Jean-Luc Godard’s well-known articles, published in Cahiers du cinéma in 1956, which engaged with Bazin’s conception of cinematic realism in an attempt to effect a generational break with the past by proposing a revised understanding of montage, not simply as an integral part of mise-en-scène, but as a form of deliberate authorial statement and, in that sense, as a practical extension of the New Wave ideology or politique des auteurs. In highlighting Bazin’s formative influence on the New Wave directors (in particular, his relationship to Truffaut and Godard), this chapter also focuses on the revived interest in early avant-garde experimentation (as evidenced, for instance, by Godard’s use of silent era shot transitions, image/sound disjunction and quotations from Surrealist poets in A bout de souffle), as well as the emergence of postmodern strategies and notions of rhythm, movement and time in French cinema (again present in the early work of Jean-Luc Godard), which prefigured Deleuze’s re-appraisal of montage as part of his theory of the movement-image and the time-image.

A psychoanalytical approach to Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days

2018 ◽  
Vol 48 (3-4) ◽  
pp. 295-307
Author(s):  
Adriana Cordali Gradea
Keyword(s):  
Female Body ◽  
Reproductive Rights ◽  
Psychological Effects ◽  
Male Gaze ◽  
New Wave ◽  
The Real ◽  
The Face ◽  
Split Personality ◽  
Symbolic Reality ◽  
Romanian Cinema

Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days ( 4, 3, 2 for short) is a classic of the new wave in Romanian cinema. Centred on the paternalistic and patriarchal relationship between political power and women, this analysis reveals the psychological effects of traumatic situations and how unconscious (hidden, often irrational) drives determine human behaviour in subjects living under totalitarianism. This article provides a reading of the film through such concepts as the (male) gaze, the law in relation to the figure of the father and the Lacanian orders of the symbolic and the real, the split personality of the abused woman as both subject and object, and life/death instincts in the face of totalitarian intrusion into the reproductive rights of women. This kind of analysis sheds new light on the nuances of the film and the significance of the silence in it by exposing the symbolic reality of communist totalitarianism as opposed to a seemingly authentic Lacanian real that is hidden in the silence and in the materiality of the female body.

New wave machine

Nature ◽  
2001 ◽  
Author(s):  
Philip Ball
Keyword(s):  
New Wave

Democratizing Abolitionism: Anti-slavery Discourses and Sentiments in August von Kotzebue's Die Negersklaven (1796)

2020 ◽  
Vol 9 (1) ◽  
pp. 26-45
Author(s):  
Sarah J. Adams
Keyword(s):  
Eighteenth Century ◽  
Denis Diderot ◽  
Middle Classes ◽  
Late Eighteenth Century ◽  
German States ◽  
Political Sources ◽  
Mise En Scene ◽  
Peripheral Position ◽  
Histoire Des Deux Indes ◽  
Political Leverage

Despite their peripheral position in the Atlantic slave trade, authors of the late eighteenth-century German states composed a number of dramas that addressed imperialism and slavery. As Sigrid G. Köhler has argued (2018), these authors aimed to exert political leverage by grounding their plays in the international abolitionist debate. This article explores how a body of intellectual texts resonated in August von Kotzebue's bourgeois melodrama Die Negersklaven (1796). In a sentimental preface, he mentions diverse philosophical, historical and political sources that contributed to the dramatic plot and guaranteed his veracity. Looking specifically at the famous Histoire des deux Indes (1770) by Denis Diderot and Guillaume-Thomas F. Raynal, I will examine the ways in which Kotzebue adapted highbrow abolitionist discourses to the stage in order to convery an anti-slavery ideology to the white European middle classes. Kotzebue seems to ground abolitionism in the bourgeois realm by moulding political texts into specific generic templates such as an elaborate mise-en-scène, the separation and reunion of lost lovers, a fraternal conflict, and the representation of suffering victims and a compassionate white hero.

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