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Romanian Cinema
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Until the second decade of the 21st century, scholarship on Romanian film has been written almost exclusively in Romanian. Its pioneering representatives were D. I. Suchianu and Ion Cantacuzino, who published their first books in the 1930s. Since Romania had not generated consistent cinematic output until the 1950s, its historical studies came out also late, in the 1960s. The year 1989 was another turning point in Romanian film historiography, spurring post-socialist reconsiderations, and so was 1996, when the celebration of one hundred years of Romanian cinema triggered the publication of several historical studies. Consistent international representation started in the late 2000s, prompted by the international visibility of the New Romanian Cinema (also known as the Romanian New Wave). Since then, English-language film magazines delivered reviews of every new Romanian production, and academic scholarship started to yield its first articles. Soon, interest in Romanian film traditions also surged (both in Romania and abroad), coupled with a concentrated effort of the Romanian state to promote its cinema, both new and old. Romanian film is still approached mainly in the framework of national cinema, but recent studies tend to broaden the perspective and employ comparative, transnational, intermedial, and media-theory perspectives.
Title: Romanian Cinema
Description:
Until the second decade of the 21st century, scholarship on Romanian film has been written almost exclusively in Romanian.
Its pioneering representatives were D.
I.
Suchianu and Ion Cantacuzino, who published their first books in the 1930s.
Since Romania had not generated consistent cinematic output until the 1950s, its historical studies came out also late, in the 1960s.
The year 1989 was another turning point in Romanian film historiography, spurring post-socialist reconsiderations, and so was 1996, when the celebration of one hundred years of Romanian cinema triggered the publication of several historical studies.
Consistent international representation started in the late 2000s, prompted by the international visibility of the New Romanian Cinema (also known as the Romanian New Wave).
Since then, English-language film magazines delivered reviews of every new Romanian production, and academic scholarship started to yield its first articles.
Soon, interest in Romanian film traditions also surged (both in Romania and abroad), coupled with a concentrated effort of the Romanian state to promote its cinema, both new and old.
Romanian film is still approached mainly in the framework of national cinema, but recent studies tend to broaden the perspective and employ comparative, transnational, intermedial, and media-theory perspectives.
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