“A Star Is Born”: Gender, Soft Power and Biopics in the Cold War Romanian Cinema Darclée (1961)

Abstract

"“A Star Is Born”: Gender, Soft Power and Biopics in Cold-War Romanian Cinema (Darclée, 1961) Obsessively interested in life writing from the periods of 20th-century dictatorships, Romanian post-communist culture has been dominated, with very few exceptions, by male authors. However, shyly, yet steadily, in this large-scale attempt to retrace and understand the traumatic past, there has been an opening in recent years towards women authors. Although few by comparison, these personal narratives are memorable. In terms of biographical novels and biopics, the most striking feature is the absence of such female representations. Departing from this context of gender oblivion and inequality, and considering the specificities of the life writing genre and its filmic representations, the current paper focuses on Darclée (Mihai Iacob, 1961), one of the very few biopics in Romanian cinema that revolves around a famous woman. Aside from being a rare, female-centered exception among Romanian biopics, the film is also noteworthy for its politicized content and therefore interesting to discuss in relation to the political context, the totalitarian regime present at the time in Romania and its cultural discourse. Despite dealing with a-turn-of-the-century figure of aristocratic and bourgeois origins, the film (with the wife of a communist leader in the leading role) is politically appropriated by the communist regime and announces National Communism in Romanian culture. The analysis will thus consider the political discourse employed in Darclée, with its unexpected nationalist emphasis, as well as the film’s strategies of representation as it covers, in a rare occasion, a female figure. Keywords: life writing, gender, Romanian cinema, Cold War biopic, musical film "

Geografia dezvoltării. Abordări centrate pe om

“…Această grupare de texte conține cele mai diverse subiecte cu privire la gen în România comparativ cu categoriile menționate anterior. Ele tratează despre subiecte ce țin de mentalitatea colectivă și rolurile tradiționale, familia, violența domestică, religiozitatea și generozitatea (Lazăr & Hatos, 2019), activismul social și ONG-uri axate pe probleme de gen (Nimu, 2015), alocarea timpului liber (Roman, 2006); etnice (minoritatea romă); migrație; precum și diferite reprezentări ale genului în: cinematografia românească (Batori, 2019;Fătu-Tutoveanu, 2021;Georgescu, 2011), epitafuri, jucării, cărți de bucate (Ghita, 2018), benzi desenate (Ilovan, 2021b; a se vedea și Ilovan, 2020, 2021a) și structura limbii (Liu et al, 2017).…”