Space in Romanian and Hungarian Cinema"This book offers an original and innovative framework for considering Hungarian and Romanian cinema. In focusing on the disciplinary spaces of socialist and post-socialist film, Anna Batori sheds light on the ways in which vertical and horizontal planes and lines in cinema can have significant political implications. This is an important work for film theory as well as for wider studies of the region.
Old and New Hierarchies: Rewritten Social Norms in Silent ValleyThe article discusses the socialist and post-socialist hierarchical structure in Romania by focusing on the sociological reading of the series Silent Valley (Valea Mutã, 2016). As argued in the text, the production shows a remarkable, novel approach to breaking the discursive taboos of the Ceaușescu system by featuring homosexuality, corruption and revised gender roles on screen. The main focus of the article is on revealing how the old socialist socio-political hierarchies have been inherited and/or transferred to the capitalist-democratic epoch. By analysing such structures, the text provides a gender-centred description of the Romanian socialist and contemporary framework, while giving special attention to the situation of the Roma minority in the country. In a formalist-structuralist reading, it aims to dissect the phenomena of gender hierarchy, political and social dominance, and people’s subjugated position within this context. Régi és új hierarchiák: Átírt társadalmi normák a Silent ValleyA tanulmány egy formalistra-strukturalista olvasaton belül a szocialista és kapitalista hierarchikus struktúrákat vizsgálja a Silent Valley (Valea Mutã, 2016) című roman sorozatban, miközben amellett érvel, hogy – a Ceaușescu-rendszer tabuit megdöntő, avagy a homoszexualitás, változó nemi szerepek, a roma helyzet és korrupció témaköreit nyíltan felvállaló – produkció új fejezetet nyitott az ország televíziós sorozatgyártásában. A tanulmány központi fókusza a szocialista politikai hierarchiák felfedése jelen kontextusban, és a változó domináns nemi szerepek reflexiójának leképezése a kortárs televíziós szférában. Stare i nowe hierarchie. Napisane na nowo normy społeczne w Silent ValleyArtykuł bada socjalistyczne i kapitalistyczne struktury hierarchiczne w rumuńskim serialu Silent Valley (Valea Mutã, 2016) w ujęciu formalno-strukturalnym. [Autorka] argumentuje jednocześnie, że przełamując tabu systemu Ceaușescu poprzez otwarte podjęcie tematów homoseksualizmu, zmieniania ról płciowych, sytuacji Romów i korupcji, produkcja otworzyła nowy rozdział w dziejach seriali telewizyjnych w Rumunii. Głównym przedmiotem artykułu jest ukazanie w tym kontekście socjalistycznych hierarchii politycznych oraz refleksja nad zmianą dominujących ról płciowych we współczesnej sferze telewizyjnej.
The global proliferation of media distribution platforms, such as Amazon Video, Netflix, Hulu or HBO Go, and their support for local productions have entered the Eastern European region into a new quality televisual age. Thanks to the innovative industrial and technological framework and the transformation of production, exhibition and distribution practices in the era, the post-2000 epoch gave local filmmakers and media practitioners the opportunity for national self-expression that contributed to the birth of new narratives and aesthetic forms. By focusing on the Romanian series Shadows [Umbre, 2014–], the present article investigates the very local tone of Eastern European crime series produced by HBO Europe. This paper examines and enumerates the reasons for the proliferation of the genre, while discussing its local characteristics that, as argued below, gave birth to a collective Eastern European televisual collectivehood. Article received: March 28, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Batori, Anna. "The Birth of the Post-Socialist Eastern European Televisual Collectivehood: Crime and Patriarchy in Shadows [Umbre, 2014–]." AM Journal of Art and Media Studies 17 (2018): 37−48. doi: 10.25038/am.v0i17.268
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