Since the mid-2000s Romanian cinema has, on all levels, been gripped by a new wave characterized by austerity, unflinching realism and a bleak, deeply metaphoric mise-en-scène. This is a style that is both prevalent in and enhanced by the exhibition of masculinity in crisis as
shown in The Cage.
Play it Again, sam' -intertextuality, authorship and expectations inThe Bloody Olive abstract Whether early literary adaptations or postmodern, pop culture stuffed millennium movies, cinema has continually showcased its penchant for intertextuality. Simultaneously, genre films have constructed a network of paradigms allowing discerning audiences to expect the previously unexpected. These interconnecting elements are prevalent, and toyed with, throughout short film noir pastiche The Bloody Olive.
coNtributor detailsNathan Shaw completed his M.A. with a distinction in European Film Studies at Swansea University, after previously completing a B.A. in World Film Studies with a dissertation focused on the evolution of film noir. His M.A. dissertation focused on the emergence of a contemporary European cinema that exhibits physical suffering, torture and a related crisis in masculinity, as a means to transcendence. He is currently preparing his doctoral thesis.
A new (post-9/11) emphasis on physical suffering and its transcendence (as opposed to post-World War II psychological suffering and its confounding) is emerging in contemporary European cinema at all levels, from feature-length movies to short films as exemplified by Alumbramiento.
In feature-length Holocaust cinema, viewers witness two hours of harrowing events, before being pacified with an ending providing some comfort and relief; often undermining what has gone before. However, in short-film Seven Minutes in the Warsaw Ghetto, this structure is reversed, fitting
perfectly with the medium to provide a stronger, lasting impact.
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