If sex were a factor …

Șincan, Anca

doi:10.4324/9780429331466-20

Cited by 1 publication

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“…For example, the Romanian Orthodox Church, enjoying a high level of societal confidence during the communist period and afterwards, made significant efforts to stop further investigations after the public exposure of names of priests and prelates who disclosed information obtained during confession (Stan and Turcescu, 2005). Other studies further analyse the Securitate's collaborative efforts to control religious freedoms (Cindrea-Nagy, 2022;Pintilescu, 2022;Șincan, 2022;Turcescu and Stan, 2021). Examination of the Securitate files has resulted in a significant body of research into the mechanisms of control employed by the Russian communist regime and a deeper understanding of the role the Securitate played in that context (Deletant, 2015;Puttkamer et al, 2014) -research which details the Securitate's surveillance of literature, performative arts and music (Mogoș and Berkers, 2018;Preda, 2021).…”

Section: Securitate Files and Artistic Reworkingsmentioning

confidence: 99%

Memorability of Romanian dissidence: Ordinary people, secret files and artistic remediations

Mitroiu,

Mironescu

2024

Journal of European Studies

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The article explores the conditions necessary for a narrative recounting of past events to become memorable and incorporated into collective memory. The analysis is focused on the role played by artistic remediations in creating such memorability. In Romania, as well as in other East Central European countries, the production of memorability and the management of the resulting collective memories are interlinked with the narratives of communism that dominate the memorialisation of the recent past. The article reviews several examples of acts of dissent, based on their representativeness and the existing literature, and question the memorability of dissident acts by considering the memory discourse on communism and the involvement of different agents of memory. It also interrogates the use of the Romanian secret police (Securitate) files in artistic productions, examining this acknowledgement of the role played by the Securitate in creating the narratives of the communist past. Two artistic productions based on reworkings of the Securitate files are analysed: a documentary theatre play staged by Gianina Cărbunariu, Uppercase Print (2013), and Radu Jude’s 2020 film of the same title, both presenting the story of Mugur Călinescu. The article argues that these productions question mainstream frames of memory by revisiting the narratives and biographies created by the Securitate files and give new, artistically mediated voices to victims, perpetrators and collaborators.

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