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.

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.

scholarly journals Remarks on the Actual Status of Romanian Cinema

2011 ◽  
Author(s):  
Christina Stojanova
Keyword(s):  
Round Table ◽  
Round Table Discussion ◽  
Film Festival ◽  
The People ◽  
Close Proximity ◽  
The Status ◽  
Film Stars ◽  
Romanian Cinema ◽  
Artistic Director ◽  
Beautiful City

ROMANIA ON THE MOVIE MAP: REMARKS ON THE ACTUAL STATUS OF ROMANIAN CINEMA This was my second trip to Romania after more than 20 years, and I was grateful to enjoy the beautiful city of Cluj, the people, the relaxed atmosphere. And certainly the considerate organizers of the festival and its young volunteers! But the most rewarding experience of my trip was watching Romanian films 'on site' - that is, in their own context, in the close proximity of filmmakers, film stars, film critics and of Romanian viewers. The round table discussion, hosted by the Romanian Film Critics' association and helmed by Dana Duma, Magda Mihailescu and Mihai Chirilov (artistic director of the Toronto International Film Festival), is yet another congruous - and already traditional - event, where film critics from all over the world gather to compare notes on the status of Romanian cinema. Although I intervened...

Agnès Varda

2011 ◽  
Author(s):  
Sarah Cooper
Keyword(s):  
21St Century ◽  
Installation Art ◽  
New Wave ◽  
Film Festival ◽  
French Cinema ◽  
Academy Awards ◽  
Production And Distribution ◽  
History Of ◽  
Agnes Varda ◽  
To Receive

Agnès Varda (b. 1928, Ixelles, Belgium) is without doubt the most significant woman director in the history of French cinema. Known affectionately as the mother and then grandmother of the French Nouvelle Vague (New Wave), her filmmaking career spans seven decades, and her most recent work is as innovative and critically acclaimed as was her groundbreaking debut, La Pointe Courte (1954). She was awarded an honorary Palme d’Or at the Cannes Film Festival in 2015 and is the first woman to receive this prestigious prize. This accolade was followed two years later with an honorary Oscar at the 2017 Academy Awards. The majority of her works have emerged on the margins of official production and distribution, and she has produced most of her films through her own company, Ciné-Tamaris. She has made a wide variety of documentaries, fictions, shorts, and features, along with a number that lie between in style and length. All her films testify to her creativity as an artist, as does her written work throughout her career. More recently, her move into installation art in the 21st century reflects her continued capacity for experimental innovation. This article charts the different facets of her work as filmmaker, writer, and installation artist, and also the relation her work bears to painting and photography.

scholarly journals Dokumentarzyści i krytyk. Zygmunt Kałużyński a dokumentaliści „nowej zmiany”

2017 ◽  
Vol 20 (29) ◽  
pp. 15-46
Author(s):  
Mikołaj Jazdon
Keyword(s):  
Short Film ◽  
Documentary Films ◽  
New Wave ◽  
Film Festival ◽  
Political Situation ◽  
Television Documentary ◽  
Film Critic ◽  
Krzysztof Kieslowski

The article offers the analysis of how Zygmunt Kałużyński, the film critic of Polityka weekly magazine, described and stigmatized documentary films by Krzysztof Kieślowski, Tomasz Zygadło, Grzegorz Królikiewicz and Krzysztof Gradowski presented at the Cracow short film festival in 1971. Kałużyński criticized and mocked the aesthetics of the Polish “new wave” documentary cinema in a series of articles published in Spring and Summer of 1971. He presented films by brave and talented directors, contradicting the current social and political situation, as the unreflective imitation of the banal television documentary style based on in-front-of-the-camera interviews. The author compares Kałużyński’s proceedings to actions of a British journalist Robert Pitmann described by Tadeusz Różewicz in his essay A Journalist and the Poet. Pitmann conducted a sneering interview with T.S. Eliot for Sunday Express in 1958 and Różewicz comments on the possible effects of his text for its readers.

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 Taipei Golden Horse film awards and Singapore cinema: Prestige, privilege and disarticulation

Asian Cinema ◽  
2020 ◽  
Vol 31 (1) ◽  
pp. 99-120 ◽  
Author(s):  
How Wee Ng
Keyword(s):  
Social Media ◽  
National Identity ◽  
Chinese Population ◽  
Cultural Practices ◽  
New Wave ◽  
Film Festival ◽  
Film Festivals ◽  
Ethnic Chinese ◽  
Media Reports ◽  
Film Reviews

Drawing from the idea of national revival, which is closely associated with the term ‘new wave’, this article examines the implications of how winning international film awards, with a focus on how the Taipei Golden Horse Awards (GHA) is variously understood by Singapore filmmakers. If film festivals and awards are crucial to constituting the ‘Singapore new wave’, how does GHA perceivably shape filmmaking and the way filmmakers understand issues of identity, language, prestige and cultural sensibilities? Based on interviews with ten Singapore directors and a producer-film festival director, media reports, film reviews and social media posts, I demonstrate that the supposed prestige of GHA is fraught with conflicting understandings of ‘Chineseness’, impartiality, inclusivity and credibility. For a sovereign country with a high ethnic Chinese population like Singapore which claims a national identity that is multilingual and multi-ethnic, at stake are the problematics of Chinese geopolitics and the linguistic-cultural practices of exclusion when it comes to GHA nominations and wins.

Sen, Mrinal (1923--)

2018 ◽  
Author(s):  
Rea Amit
Keyword(s):  
Documentary Films ◽  
New Wave ◽  
Film Festival ◽  
Art Cinema ◽  
World Cinema ◽  
The Government ◽  
Simple Narrative

Mrinal Sen is an Indian film director closely associated with the Indian New Wave (alternatively known as the Parallel Cinema). Born in Faridpur, now Bangladesh, he moved to Calcutta in 1940. Although Sen began directing films in 1955, it was his 1969 film, BhuvanShome, that earned him recognition among those associated with India’s independent art cinema. While the simple narrative emphasizes progressive socialist ideas, the film is most notable for its cinematic form, which incorporates live footage and documentary-like filmmaking with fast editing and several animated sequences. In the early 1970s Sen’s films become more radical politically, glorifying violent demonstrations against the government. This shift is visible in his "Calcutta Trilogy" (Interview, Calcutta 71, and Padatik) and Chorus (1975), the latter earning Sen the Silver Prize at the 1975 Moscow International Film Festival. In the latter half of the 1970s Sen turned to more mainstream filmmaking. He has also directed several documentary films, among them a film produced for the British Film Institute’s series on world cinema, And the Show Goes On—Indian Chapter (1999).

Sign in / Sign up

Export Citation Format

Share Document