<abstract xmlns="http://www.w3.org/1999/xhtml"><p>The representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural meanings inherent to the cinematic apparatus addressing a pensive spectator, or a discourse on cinema born in the space of intermediality. In the post-1989 films of Romanian director Lucian Pintilie, painterly and sculptural references, as well as miniatures become figurations of cultural identity inside allegories about a society torn between East and West. I argue that art references are liberating these films from provincialism by transforming them into a discourse lamenting over the loss of Western, Christian and local values, endangered or forgotten in the post-communist era. In the films under analysis – <italic>An Unforgettable Summer</italic> (1994), <italic>Too Late</italic> (1996) and <italic>Tertium Non Datur</italic> (2006) – images reminding of Byzantine iconography, together with direct references and remediations of sculptures by Romanian-born Constantin Brâncuşi, participate in historico-political allegories as expressions of social crisis and the transient nature of values. They also reveal the tension between an external and internal image of Romania, the aspiration of the “other Europe” to connect with the European cultural tradition, in a complex demonstration of a “self-othering” process. I will also argue that, contrary to the existing criticism, this generalizing, allegorical tendency can also be detected in some of the films of the generation of filmmakers representing the New Romanian Cinema, for example in Radu Jude’s <italic>Aferim!</italic> (2015).<xref ref-type="fn" rid="j_ausfm-2016-0004_fn_001_w2aab2b8c17b1b7b1ab1aaAa"><sup>1</sup></xref></p></abstract>

The representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural meanings inherent to the cinematic apparatus addressing a pensive spectator, or a discourse on cinema born in the space of intermediality. In the post-1989 films of Romanian director Lucian Pintilie, painterly and sculptural references, as well as miniatures become figurations of cultural identity inside allegories about a society torn between East and West. I argue that art references are liberating these films from provincialism by transforming them into a discourse lamenting over the loss of Western, Christian and local values, endangered or forgotten in the post-communist era. In the films under analysis – An Unforgettable Summer (1994), Too Late (1996) and Tertium Non Datur (2006) – images reminding of Byzantine iconography, together with direct references and remediations of sculptures by Romanian-born Constantin Brâncuşi, participate in historico-political allegories as expressions of social crisis and the transient nature of values. They also reveal the tension between an external and internal image of Romania, the aspiration of the “other Europe” to connect with the European cultural tradition, in a complex demonstration of a “self-othering” process. I will also argue that, contrary to the existing criticism, this generalizing, allegorical tendency can also be detected in some of the films of the generation of filmmakers representing the New Romanian Cinema, for example in Radu Jude’s Aferim! (2015).1

Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

The representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural...

Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema

Data publikacji: 24 wrz 2016

Zakres stron: 67 - 86

DOI: https://doi.org/10.1515/ausfm-2016-0004

Słowa kluczowe
allegory, figuration, mimicry, miniature, Lucian Pintilie

© 2016 Hajnal Király, published by De Gruyter Open

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema

Data publikacji: 24 wrz 2016

Zakres stron: 67 - 86

DOI: https://doi.org/10.1515/ausfm-2016-0004

Słowa kluczoweallegory, figuration, mimicry, miniature, Lucian Pintilie

© 2016 Hajnal Király, published by De Gruyter Open

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Słowa kluczowe
allegory, figuration, mimicry, miniature, Lucian Pintilie