Publication: Lo cotidiano en el nuevo cine rumano
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2024-01-09
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Universidad Complutense de Madrid
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Abstract
La cinematografía rumana de principios del siglo XXI es extraordinariamente fértil, dotada de una gran fuerza creativa y libertad en su más amplio espectro. Tras la caída del régimen comunista en diciembre de 1989, Rumanía estrenó democracia, lo cual impulsó el desarrollo del séptimo arte. Durante los primeros años del nuevo milenio, una generación cinematográfica emergió desarrollando una factura y estilo propios en sus películas, marcados por lo que a mi entenderse podría denominar realismo de lo cotidiano. Sus directores pronto fueron clasificados como parte de una Nueva Ola por destacados críticos y expertos de cine tanto rumanos como internacionales, utilizando el recurso estratégico y comercial similar al de la Nouvelle Vague francesa. En el caso rumano, la opinión de sus cineastas no se ajusta del todo a la idea de un manifiesto común, ya que destacan su individualidad creativa y personalidad propia. No revelan su pertenencia a un movimiento creado con un objetivo específico; rechazan la voluntad de estar supeditados a un nuevo dogma cinematográfico, tan aclamado por la crítica, a pesar de que compartían, en lo que a cinematografía se refiere, una predilección por una estética y contenidos realistas, así como en lo político, un pasado de antagonismo frente a la dictadura comunista, tanto de la etapa estalinista como del periodo de renovación de Ceaușescu...
Romanian cinematography at the beginning of the 21st century has been extraordinarily fertile, endowed with great creative force and freedom in its widestspectrum. After the fall of the communist regime in December 1989, Romania launched democracy, which promoted the development of the seventh art. During the first years of the new millennium, a cinematographic generation emerged, developing its own style and approach in its films, marked by what I believe could be called everyday realism. Its directors were soon classified as part of a New Wave by leading Romanian and international film critics and experts, using a strategic and commercial resource similar to that of the French Nouvelle Vague. In the Romanian case, the opinion of its filmmakers does not fully conform to the idea of a common manifesto, as they emphasize their creative individuality and their own personality. They reject the notion of being subservient to a new cinematographic dogma, which is acclaimed by critics, even though they share, in terms of cinematography, a preference for realistic aesthetics and content, and politically, a past of antagonism against the communist dictatorship, both from the Stalinist period and from the period of Ceaușescu's renewal...
Romanian cinematography at the beginning of the 21st century has been extraordinarily fertile, endowed with great creative force and freedom in its widestspectrum. After the fall of the communist regime in December 1989, Romania launched democracy, which promoted the development of the seventh art. During the first years of the new millennium, a cinematographic generation emerged, developing its own style and approach in its films, marked by what I believe could be called everyday realism. Its directors were soon classified as part of a New Wave by leading Romanian and international film critics and experts, using a strategic and commercial resource similar to that of the French Nouvelle Vague. In the Romanian case, the opinion of its filmmakers does not fully conform to the idea of a common manifesto, as they emphasize their creative individuality and their own personality. They reject the notion of being subservient to a new cinematographic dogma, which is acclaimed by critics, even though they share, in terms of cinematography, a preference for realistic aesthetics and content, and politically, a past of antagonism against the communist dictatorship, both from the Stalinist period and from the period of Ceaușescu's renewal...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 26-05-2023