Abstract
Of the final three thematic chapters of the study focusing on the cinematic representations of transitional post-socialist Romanian society, this chapter focuses on the social production of space displayed through narratives about outcasts, fugitives, and migrants. Moving across physical space, their mobility becomes an important social signifier in the sense that, after the geographic and political isolation of the state socialist years, the opportunity and the freedom to move became a primary tool in the identity construction of the post-socialist citizen. In the films, disoriented characters hesitantly cross labyrinthine social settings, move in-between urban and rural spaces, and in the process redraw the patterns of performative spatial practice.
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Notes
- 1.
On the concept of self-exotization, see (Kiossev 2011).
- 2.
The politics behind the distribution of awards at international film festivals (Cannes, Venice, Berlin, etc.) is a topic which would deserve a detailed analysis (I discuss it briefly in Chapter 9). In this regard, the identities of various West European international film festivals (what types of films they select and award) could be defined as well. These identities are also recognized by the filmmakers themselves, who seem to choose to participate only at those festivals that recognize their work with small statues.
- 3.
Elsewhere I have argued that contemporary Hungarian cinema depicts several young characters who leave the country in the hope of a better life, but who return after not being able to adjust (see Strausz 2014).
- 4.
Filimon argues that Porumboiu also displays this reflexive-modernist attitude. While I agree with her interpretation of the two directors’ artistic strategies, my study proposes that the range of the hesitant epistemic program in New Romanian Cinema is in fact much broader.
- 5.
See Fig. 5.2.
- 6.
See Chapter 2 for a more detailed discussion about the transformations of Bucharest city spaces during the Ceaușescu era.
- 7.
In the subsequent shot, Crișan pays tribute to the history of cinema when he arranges his characters exiting the market just like the workers leaving the Lumière factory in the famous 1895 film.
- 8.
Parvulescu and Nitu describe Nelu’s actions through the concepts of “transnational solidarity” and “cosmopolitan solidarity.” See (Parvulescu and Nitu 2014).
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Strausz, L. (2017). Outcasts, Fugitives, and Migrants: Mobility and the Social Production of Space. In: Hesitant Histories on the Romanian Screen. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-55272-9_6
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