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Articles from 18(2)/2017

Comparing Waves. Cultural and Aesthetic Similarities between Recent Romanian and Hungarian Cinemas

Doru Pop


This paper addresses the issues of cultural identity and aesthetic specificity, as manifested in cinema-making practices of the Romanian and Hungarian recent films. The main questions are if the Romanian film makers tell different stories from their neighboring colleagues, or if the contemporary movies are ... Read More

Keywords: national cinema, regional cinema, Eastern and Central European waves, film styles and film schools

Stranger than Paradise: Postcommunist Immigration in the Eyes of Self and ‘Other’



Since the beginning of the millennium, Eastern European cinemas have produced a number of films, devoted to the problems of post-communist immigrants ‘there,’ in the new lands of promise, and of the feelings of those, left behind ‘here,’ in their native lands. It is enough to mention... Read More

Keywords: Eastern Europe, postcommunist, post-colonial, self-colonizing, gaze, (im) migration, emigration, human-trafficking

The Politics of Images. Critical Approach and Documentary Experimentations in Harun Farocki and Andrei Ujică Videogramme einer Revolution (Videograms of a revolution, Germany, 1992)



The aim of the article is to show which status images assume in the aesthetics of Harun Farocki and Andrei Ujică, both coming from Eastern cultures but long-standing German residents. As a fact, Central Europe film industry could offer more opportunities, since Eastern Europe’s recent history has bee... Read More

Keywords: Romanian cinema, Critical theory, 1989 Romanian revolution, media theory, status of images, documentary, Eastern-Central Europe

Transmediation or Media Representation? Media Transformation in Recent Eastern European Films



As scholars have shown lately, the trope of the tableau vivant is surprisingly recurrent in recent Eastern European cinema. However, there is a classification uncertainty which leads to terminological confusion. I argue for instance that the tableau vivant should be seen as a subclass of i... Read More

Keywords: transmediation, intermediality, tableau vivant

“We are not like you”. Imaginations of the Rural-Urban Dichotomy in Eastern European Queer-themed Cinema



This paper explores the dichotomy between rural and urban spaces as represented in Eastern European queer-themed cinema. The analysed films (Land of Storms, Beyond the Hills, In the Name of, The Country Teacher, Go West) imagine and construct the countryside as a conservative, patriarchal and heter... Read More

Keywords: Eastern European cinema, sexual otherness, spatial dichotomies, value hiearchies

The New Musselman. Figures on the Threshold, Ethics of the Contact Zones and The Renewed Possibility of History



The paper will open several avenues for research and reflection by revisiting Marian Crișan’s Morgen, Tarr Bela’s Werckmeister Harmonies and Jean-Luc Godard’s Notre musique. The key element will be the figure of the refugee as a figure-on-the-threshold that enac... Read More

Keywords: testimony, refugee, universality, Event, ethics

A Figure of Transgression in Literature, Theatre, and Cinema: Aglaja



Ever since the publication of her two books (Warum das Kind in der Polenta kocht, 1999, and Das Regal der letzten Atemzüge, 2002), Aglaja Veteranyi seemed to fall in between the classical divisions of literary systems. As a multingual (with a Hungarian-Romanian heritage, performing in... Read More

Keywords: identity, migrant literature, feminine literature, interart studies, circus

Children of Revolution. The Re-inventing of History in Contemporary Hungarian and Romanian Cinema. A case study



This paper discusses the cinematic expressions of a cultural experience which had a huge impact on Romanian and Hungarian society: namely both countries’ national revolutions. In focus are two films, one from each country: Children of Glory by Kriszta Goda and The Paper Will Be Blue ... Read More

Keywords: art cinema, Bordwellian, Hollywood narrative, history, New Hungarian Cinema, Romanian New Wave

The Civil War and Revolution in Stalinist Films. Cult Films, Evasiveness and Clichés



Having as a starting point the fact that the Stalinist cinematography played the role of an institution in producing history, the paper proposes analysis of films which tackle the Civil War and the Russian Revolution. Regardless of what films we take into account, whether the cult films of the Soviet cinema... Read More

Keywords: Stalinist cinema and myths, evasiveness and clichés, representation of the Civil War and the Russian Revolution, the Civil War cult