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

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.

scholarly journals Design of Optimal Rainfall Monitoring Network Using Radar and Road Networks

Entropy ◽  
2021 ◽  
Vol 23 (3) ◽  
pp. 378
Author(s):  
Taeyong Kwon ◽  
Seongsim Yoon ◽  
Sanghoo Yoon
Keyword(s):  
Road Networks ◽  
Monitoring Network ◽  
Conditional Entropy ◽  
Radar Data ◽  
Disaster Risk ◽  
Water Levels ◽  
The Road ◽  
Dam Operation ◽  
A Site ◽  
High Degree

Uncertainty in the rainfall network can lead to mistakes in dam operation. Sudden increases in dam water levels due to rainfall uncertainty are a high disaster risk. In order to prevent these losses, it is necessary to configure an appropriate rainfall network that can effectively reflect the characteristics of the watershed. In this study, conditional entropy was used to calculate the uncertainty of the watershed using rainfall and radar data observed from 2018 to 2019 in the Goesan Dam and Hwacheon Dam watersheds. The results identified radar data suitable for the characteristics of the watershed and proposed a site for an additional rainfall gauge. It is also necessary to select the location of the additional rainfall gauged by limiting the points where smooth movement and installation, for example crossing national borders, are difficult. The proposed site emphasized accessibility and usability by leveraging road information and selecting a radar grid near the road. As a practice result, the uncertainty of precipitation in the Goesan and Hwacheon Dam watersheds could be decreased by 70.0% and 67.9%, respectively, when four and three additional gauge sites were installed without any restriction. When these were installed near to the road, with five and four additional gauge sites, the uncertainty in the Goesan Dam and Hwacheon Dam watersheds were reduced by up to 71.1%. Therefore, due to the high degree of uncertainty, it is necessary to measure precipitation. The operation of the rainfall gauge can provide a smooth site and configure an appropriate monitoring network.

Elements of Ethics and Aesthetics in New Romanian Theatre

2013 ◽  
Vol 29 (4) ◽  
pp. 385-393
Author(s):  
Cristina Modreanu
Keyword(s):  
New York ◽  
Eastern European ◽  
New Wave ◽  
New York University ◽  
Global Context ◽  
Collaborative Art ◽  
Contemporary Work ◽  
European Theatre ◽  
University Performance ◽  
The Relationship

Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall tendencies in contemporary art, as observed by authors such as Jaques Rancière and Claire Bishop. Cristina Modreanu's doctorate on Romanian theatre after 1989 is from Bucharest University of Theatre and Film, and she has also developed the subject in lectures at Tel Aviv University and Plymouth University. A Fulbright alumna and former Visiting Scholar at New York University, Performance Studies Department, Modreanu currently lectures in Contemporary Performance at Bucharest University. Her publications include articles on Romanian and Eastern European theatre for journals such as Theater, Theater der Zeit, and Alternatives Théâtrales, and for the anthology Romania after 2000: Five New Plays, edited by Martin E. Segal.

The ‘Chemistry’ of Art(ifice) and Life: Embodied Paintings in East European Cinema

2016 ◽  
Author(s):  
Ágnes Pethő
Keyword(s):  
The Other ◽  
The Real ◽  
East European ◽  
European Cinema ◽  
Tableaux Vivants ◽  
Postmodern Art ◽  
Tableau Vivant

The essay focuses on the manifold uses and re-conceptualization of the tableau vivant in recent East European cinema through several examples from Hungarian and Russian films directed by György Pálfi, Kornél Mundruczó, Benedek Fliegauf, Béla Tarr, and Andrei Zvyagintsev. The tableau vivant in these films is not conceived primarily as an embodiment of a painting, the introduction of ‘the real into the image’ (Brigitte Peucker), but it appears more like the objectification of bodies as images, and something that we can associate with what Mario Perniola considers the ‘sex appeal of the inorganic’. The author discusses the case of the paradoxical ‘cadaverous’ tableaux vivants (among them the recurring cinematic paraphrases of Mantegna’s Dead Christ), in which a live body is displayed as a corpse, or the other way round, a corpse is presented as an embodied picture, or an object of art made of flesh. By repeatedly showing us bodies dying into art, and ideas reified as images, these films present us with uncanny rituals of ‘becoming an image’, with a yearning for a reintegration into something universal and lasting, and can be viewed in the context of the reconstructive tendencies of contemporary post-postmodern art.

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 XII. The kinetic theory of a gas constituted of spherically symmetrical molecules

1912 ◽  
Vol 211 (471-483) ◽  
pp. 433-483 ◽  
Keyword(s):  
Kinetic Theory ◽  
The Other ◽  
Mathematical Form ◽  
The Real ◽  
Numerical Errors ◽  
Diffusion Of Knowledge ◽  
Descriptive Theory ◽  
The One ◽  
Physical Reasons ◽  
High Degree

The principal kinetic theories of a gas proceed either on the hypothesis that the molecules are rigid elastic spheres, or that they are point centres of forces which vary inversely as the fifth power of the distance. Maxwell has worked out the consequences of the letter hypothesis in his well-known theory, which is unrivalled in its high degree of accuracy and (after some improvements by Boltzmann) in its perfection of mathematical form. All the quantities not taken account of in the theory (such as the time occupied by molecular encounters, and the effect of collisions in which more than two molecules take part) are properly negligible under ordinary conditions. The theory has the disadvantage, however, that the underlying hypothesis is highly artificial (being chosen chiefly on account of mathematical simplifications connected with it, rather than from any physical reasons), and does not represent the real facts at all adequately. The other hypothesis referred to seems to be much more in agreement with fact, but its consequences have been worked out less accurately. The method which has almost always been used is the one originally devised by Clausius and Maxwell; Maxwell abandoned it later, however, as it had “led him at times into grave error.” In spite of its apparent simplicity, numerical errors of large amount may undoubtedly creep in in a very subtle way. Hence the theory of a gas whose molecules are elastic spheres remains in a rather unsatisfactory state. As a “descriptive” theory (to use Meyer’s apt term) it has, however, served a useful purpose; the general laws of gaseous phenomena have been developed by its aid in an elementary way, which has conduced to a wider diffusion of knowledge of the kinetic theory than would have been possible if the sole line of development had been by the more mathematical and accurate methods used by Maxwell and Boltzmann.

scholarly journals In Close Proximity: The Lipid Droplet Proteome and Crosstalk With the Endoplasmic Reticulum

Contact ◽  
2018 ◽  
Vol 1 ◽  
pp. 251525641876899 ◽  
Author(s):  
Kirill Bersuker ◽  
James A. Olzmann
Keyword(s):  
Mass Spectrometry ◽  
Endoplasmic Reticulum ◽  
Lipid Droplets ◽  
Neutral Lipids ◽  
26S Proteasome ◽  
High Confidence ◽  
Close Proximity ◽  
Bona Fide ◽  
A Site ◽  
High Degree

Lipid droplets (LDs) are conserved, endoplasmic reticulum (ER)-derived organelles that act as a dynamic cellular repository for neutral lipids. Numerous studies have examined the composition of LD proteomes by using mass spectrometry to identify proteins present in biochemically isolated buoyant fractions that are enriched in LDs. Although many bona fide LD proteins were identified, high levels of non-LD proteins that contaminate buoyant fractions complicate the detection of true LD proteins. To overcome this problem, we recently developed a proximity-labeling proteomic method to define high-confidence LD proteomes. Moreover, employing this approach, we discovered that ER-associated degradation impacts the composition of LD proteomes by targeting select LD proteins for clearance by the 26S proteasome as they transit between the ER and LDs. These findings implicate the ER as a site of LD protein degradation and underscore the high degree of crosstalk between ER and LDs.

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