Acasă Articole RTR Tragedy after Farce: Family Relations in Capitalism and the Postsocialist Generational Gap...
Tragedy after Farce: Family Relations in Capitalism and the Postsocialist Generational Gap in Radu Jude’s Everybody in Our Family
Rezumat
Abstract: Capitalism didn’t only change relations of production in postsocialist economies, but it changed, rather abruptly, the ways of communication between generations, which complicated the transition to a market economy. In this article I analyze Radu Jude’s Everyone in Our Family (2012), paying close attention to the way in which New Romanian Cinema translated these changes into film language and style. In the process I will also look at the way in which the heritage of socialism was negotiated by the postsocialist generation, and the way in which postsocialist adults dealt with the traditionalism and patriarchy embedded in child-parent relationships.
Keywords: postsocialism, communism, Romanian new wave, gender roles, Radu Jude.
Bibliografie
Acknowledgement: Research for this article was supported by a grant of the Ministry of Research, Innovation and Digitization, CNCS UEFISCDI, project number PN-III-P4-PCE-2021-0141, within PNCDI III.
Bibliography
Andrew, Geoff. “Everybody in Our Family.” Sight& Sound 7, no. 29 (2019): 83.
Biro, Yvette. “Pathos and Irony in East European Films.” In Politics, Art and Commitment in Eastern European Cinema, edited by D.W. Paul, 28-48. London: Palgrave Macmillan, 1983.
Bjelić, Dušan. “4 Months, 3 Weeks and 2 Days at the moment of neoliberal catastrophe.” Jump Cut: A Review of Contemporary Media, no. 58 (2017-2018). https://www.ejumpcut.org/archive/jc58.2018/Bjelic4Months/index.html.
Chirilov, Mihai. “Stop-cadre la masă” [Freeze-frames at the Family Table]. In Noul cinema românesc. De la tovarăşul Ceauşescu la domnul Lăzărescu [New Romanian Cinema. From Comrade Ceaușescu to Mr. Lăzărescu], edited by Cristina Corciovescu and Magda Mihăilescu, 11-32. Iași: Polirom, 2011.
Gorzo, Andrei, and Veronica Lazăr. “Radu Jude’s Satirical Studies of Male Rage and Self-Pity.” Transilvania, no. 5 (2022): 1-5.
Gorzo, Andrei, and Veronica Lazăr. Beyond the New Romanian Cinema: Romanian Culture, History, and the Films of Radu Jude. Sibiu: Editura ULBS, 2023.
Gorzo, Andrei. “20 de ani de la ‘Marfa și banii’” [20 Years after “Stuff and Dough”]. Lucruri care nu pot fi spuse altfel [Things that Can’t Be Told Differently] (blog), January 11, 2021. https://andreigorzoblog.wordpress.com/2021/01/11/20-de-ani-de-la-marfa-si-banii/.
Kideckel, David. “The Undead:Nicolae Ceaușescu and Paternalist Politics in Romanian Society and Culture.” In Death of the Father: An Anthropology of the End in Political Authority, edited by John Borneman, 123–147. New York: Berghahn Books, 2004.
Massumi, Brian. Parables of the Virtual: Movement, Affect, Sensation. Durham: Duke University Press, 2002.
Popa, Bogdan. “What’s Wrong with the Romanian New Wave? Auteur Cinema, the Communist, and the Production of the Violent Working Class.” Studies in Eastern European Cinema 1, no. 9 (2017): 89-102.
Popa, Bogdan. “Revisiting the Uses of Nostalgia in Post-socialist Cinema: Radu Jude’s Cinema and Dialectical Images.” Transilvania, no. 1 (2023): 67-78.
Todorova, Maria. Imagining the Balkans. Oxford: Oxford University Press, 2009.
Weissberg, Jay. “Everybody in Our Family.” Variety, February 13, 2012.
