Contemporary Romanian Cinema: Riding the New Wave

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Zita Farkas and Andrea Virginas
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Contemporary Romanian Cinema: Riding the New Wave

In her overview of the 'cinema of the new Europe' Shane Danielsen (2008) affirms that after the collapse of the communist regimes, the cinemas of Eastern Europe instead of vanishing 'have flourished by adapting to changing political and economic realities'. From the beginning of 2000s, Romanian cinema has indeed boomed. In the post-socialist period it has returned to the international arena and gained reputation through critically acclaimed films such as Christi Puiu's The Death of Mr. Lazarescu (2005), Corneliu Porumboiu's 12:08 East of Bucharest (2006) and Police, Adjective (2010), Cristian Nemescu's Califormia Dreamin' (2007), Cristian Mungiu's Four Months, Three Weeks and Two Days (2007) and Tales from the Golden Age (2010), Radu Munteanu's Tuesday, after Christmas (2010) and so forth. The impressive body of films produced in the 2000s has been named by critics as the 'new Romanian wave'. According to Nick Roddick (2007), this new wave is characterized by 'hallmark humour and deadpan style' and 'cinematic humanism in its purest form'. The film director, Cristian Mungiu (2007), however, questions whether this Romanian new wave has a common style as he believes that his contemporaries have different approaches to film making.

In order to map the field of contemporary Romanian cinema, we invite proposals which look at its various aspects from changes in film production and reception to the analysis of the works of Romanian directors.

We welcome essays exploring (though not limited to) the following topics and questions:

- Transformations of the film industry in the post-socialist period: film-funding, film festivals, consumption and reception of films, international and national film prizes

- Critical analysis of films, documentaries and short films
exploring issues of sexuality, gender relations, history and historical representations

- Presentation of the work of Romanian film directors, their film language/style

- What makes a film Romanian? In what sense can we talk about 'Romanian' films? Is there such a thing as national cinema in this New Europe and in an age we call 'post-media'? If so, what determines it?

Please email your queries and abstracts of 200-300 words to to the editors Dr. Andrea Virginás and Dr. Zita Farkas

The abstracts for essays of 5,000 – 7,000 words should be received by 5st of November, 2011 with a final completion date of 15th of February, 2012.

We look forward to receiving your proposals and submissions for this volume.

Dr. Andrea Virginás, Assistant Professor at the Department of Film, Photography and Media at Sapientia - Hungarian University of Transylvania (Cluj, Romania). She holds a PhD from Debrecen University, Hungary, and has published three volumes: Az erdélyi prérin. Médiatájkép, [On the Transylvanian Prairie. A Media Panorama] KOMP-PRESS, Korunk, Cluj-Napoca, 2008, and Crime Genres and the Modern-Postmodern Turn: Canons, Gender, Media, Scientia PH, Cluj-Napoca, 2008, the latter reprinted as (Post)modern Crime: Changing Paradigms? From Agatha Christie to Palahniuk, from Film Noir to Memento. VDM Verlag Dr. Müller, Saarbrücken, 2011.

Dr. Zita Farkas, Postdoctoral Researcher at the Department of Culture and Media Studies, Umeå University. She received her PhD from University of York and worked as a visiting lecturer at University of Szeged (Hungary) and at West University of Timişoara (Romania). Her articles on Romanian films, 'History in the Making: The Romanian Revolution on the Screen' and 'The Double Bind of Visibility: Mainstreaming Lesbianism or De-lesbianized Lesbians in Love Sick' (dir. Tudor Giurgiu, 2006)', are forthcoming.