The intention of this paper is to investigate significant moments in the history of Romanian documentary film until the 2000s, to identify specific cinematic language features, to highlight significant films and important directors, looking for the Romanian, particular, defining element.
Little has been written about the Romanian documentary, it is an unjustly ignored genre and most writings stop in the '70s, leaving aside or superficially treating a very fertile period, extremely interesting to analyze and really fascinating to be understood, namely the period of 1980-1990. All the more worthy of appreciation and significance are the contributions of Laurentiu Damian1 and Calin Caliman, those who took seriously, on the one hand, the genre, on the other hand the periods after 1970. The works of their lords are not only important but also an extremely pleasant read.
In our approach we start from the premise that, in a globalized era, exactly the Romanian particular - both in terms of topics addressed and in the specific way of treatment - give European value to our documentary.
The paper will therefore look for these elements, it will treat them in relation to our regional space, South-Eastern Europe, as the doctoral thesis “Romania within the South-East European cooperation in audiovisual tried to do. Documentary focus ”- 2010 - coordinated by the eminent film critic, prof. Univ. dr. Manuela Cernat work on which the present lines are based and take over to a large extent.
A distinct chapter is intended in the present paper on the possibilities, programs, cross-border cooperation funds, both at regional and European and international level, these referring to programs and situations in force at the date of the doctoral thesis.
We will observe, therefore, Romanian realities as they appear in the documentary and we will pay homage with pride and joy to indisputable values, European and international, of the Romanian documentary film.
FOREWORD / 5
PLEASURE FOR DOCUMENTARY / 7
1.1. We need Documentary / 7
1.2. A real explosion of Documentary Film / 9
1.3. "Fo a hunger for reality, greater than ever…" - Guido Aristarco / 11
ROMANIAN AUDIOVISUAL LANDSCAPE AND THE FIRST EXTERNAL COLLABORATIONS / 16
2.1. The first collaborations / 16
2.1.1. At the beginning it was… the documentary / 17
2.1.2. Then there was the scientific documentary / 19
2.1.3… and later was the ethnographic documentary anthropological and sociological films / 23
2.2. After the Second World War - the "chess era" / 27
2.2.1. "Sahia-Film = One film a day!" / 27
2.2.2. External collaborations? / 29
2.2.3. Sahia School of Creation - The Impossible Possible / 34
2.3. After 1990 - "Romanian Revelation" !? / 37
2.3.1. The transition or "Sauve qui peut" / 37
2.3.2. "We are all cool" enters "The New Wave" / 42
2.3.3. On another stage of the spiral, as in the beginning, the 3 "Co" - Collaboration, Cooperation, Co-production / 50
EUROPEAN PARTNERSHIP / 52
3.1. Politics, cultural policies, money / 52
3.2. Culture, audiovisual, financing / 58
3.2.1. Europe as a cultural project / 59
3.2.2. "The EU supports European filmmakers" - MEDIA 2007-2013 and other AV / 66 funds
3.2.3. European programs, terrae incognita? / 76
3.3. The 3 "P" - partnership, possibilities, perspectives / 88
3.3.1. Romanian institutions, initiatives, funds and resources in external collaborations / 89
3.3.2. Other forms of cooperation / cooperation EEA / 95
3.3.3. Some key institutions in external cooperation / 99
3.4. Television - the great god / 105
3.4.1. Dangerous links: Media and Politics / 105
3.4.2. From Classics to Television - The Great Drug? / 109
3.4.3. Documentary and television / 111
ROMANIAN AND BALKAN DOCUMENTARY FILM IN THE AGE OF GLOBALIZATION / 116
4.1. "Global village" and national specific / 116
4.2. The European audiovisual industry in the 21st century - Interior view / 123
4.3. Contemporary documentary film: Challenges in a globalized world / 127
4.4. About Creation; and a proposal: M.E.S.S.A.G.E / 133
BIBLIOGRAPHY / 146
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