Romanian New Cinema
- 103 Downloads
This chapter calls for the canonisation of contemporary Romanian films and groups them according to their implicit and explicit approach to the socialist past. By establishing three categories (retrospective films, Romanian New Wave, and Romanian past films) within the contemporary Romanian feature film corpus, the chapter focuses on internationally recognised Romanian productions such as Stere Gula’s I am an Old Communist Hag (Sunt o baba comunista, 2013, 2004), Radu Muntean’s The Paper Will Be Blue (Hârtia va fi albastră, 2006) and Andrei Gruzsniczki’s Quod erat demonstrandum (The Escape, 2013).
- Bogdan, A. I. (2013). Film production financing in Romania (The National Cinema Centre). Negotia, Studia Universitatis Babes-Bolyai, 2013(3), 109–129.Google Scholar
- Chirilov, M. (2007). You can run but cannot hide: New Romanian cinema. Kinokultura. http://www.kinokultura.com/specials/6/chirilov.shtml. Accessed 12 Nov 2017.
- Czepczynski, M. (2008). Cultural landscapes of post-socialist cities. Farnham: Ashgate Publishing Limited.Google Scholar
- Duma, D (2007). Are we still laughning when breaking with the past? Kinokultura. http://www.kinokultura.com/specials/6/duma.shtml. Accessed 12 Nov 2017.
- Duma, D. (2013). Nae Caranfil and “maximalist” aesthetic. Close Up: Film and Media Studies, 1(1), 20–32.Google Scholar
- Filimon, M. (2010). In short(s) about the new Romanian cinema. Film Criticism, 34(2–3), 80–95.Google Scholar
- Fulger, M. (2006). Noul val în cinematografia românească [The new wave in Romanian cinematography]. Bucharest: Grupul Editorial Art.Google Scholar
- Giukin, L. (2010). Radu Mihaileanu, a new cinematic humanism. Film Criticism, 34(2–3), 66–80.Google Scholar
- Gorzo, A. (2013). Concerning the local precursors of the new Romanian realism. Close Up, 1(1), 4–13.Google Scholar
- Hjort, M. (2005). Small nation, global cinema: The new Danish cinema. Minneapolis: University of Minnesota Press.Google Scholar
- Ieta, R. (2010). The new Romanian cinema: A realism of impressions. Film Criticism, 34(2–3), 22–37.Google Scholar
- Lisiak, A. A. (2010). Urban cultures in (post)colonial Central Europe. West Lafayette: Purdue University Press.Google Scholar
- Littman, S. (2014). The long take as a reaction to the past in contemporary Romanian cinema. Senses of Cinema, 71. [Online]. http://sensesofcinema.com/2014/feature-articles/the-long-take-as-a-reaction-to-the-past-in-contemporary-romanian-cinema/. Accessed 17 Apr 2016.
- Mihali, C. (2007). Between sovereignty and precariousness: Post-communist daily life condition. http://www.rhetoricafrica.org/pdf/MihaliBetween%20sovereignty%20and%20precariouness.pdf. Accessed 30 Oct 2015.
- Munteanu, A., & Teodorescu, J. (2010). “Lazarescu, come forth!”: Cristi Puiu and the miracle of Romanian Cinema. Film Criticism, 34(2–3), 51–66.Google Scholar
- Nasta, D. (2013). Contemporary Romanian cinema. The history of an unexpected miracle. London/New York: Wallflower Press/Columbia University Press.Google Scholar
- Pop, D. (2010). The grammar of the new Romanian cinema. Acta Universitatis Sapientiae, 3, 19–40.Google Scholar
- Pop, D. (2014). Romanian new wave cinema. An introduction. Jefferson: McFarland & Company Inc., Publishers.Google Scholar
- Popa, D. (2011). Probing the body—Political and medical (empty) authority in the new Romanian cinema. Acta Universitatis Sapientiae, Film and Media Studies, 4, 115–129.Google Scholar
- Popa, B. (2013). Child’s Pose and the politics of freedom in the new wave of Romanian cinema. https://www.academia.edu/5130919/New_Conservative_Politics_The_New_Wave_of_Romanian_Cinema_and_Childs_Pose. Accessed 31 Oct 2015.
- Scott, A. O. (2008, January 20). New Wave on the Black Sea. New York Times [Online]. Available from http://www.nytimes.com/2008/01/20/magazine/20Romanian-t.html. Accessed 07 June 2017.
- Şerban, A. L. (2009). 4 decenii, 3 ani si 2 luni cufilmul romanesc [4 Decades, 3 Years and 2 Months With the Romanian Cinema]. Bucharest: Polirom.Google Scholar
- Şerban, A. L. (2010). Romanian cinema: From modernity to neo-realism. Film Ciriticism, 34(2–3), 1–22.Google Scholar