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This volume explores the philosophical and metaphysical manifestations of contemporary cinema. Starting with the hypothesis that movies provide an experience that is both a pathway into the thinking mechanisms of modern humans and into our collective psyche, this study focuses on the elements that form the “Romanian cinematic mind” as part of the European cinema-thinking.
While this book is based on specific case studies provided by recent productions in Romanian filmmaking, such as Proroca (2017) and Touch me Not (2018), it also contextualises the national cinema within the larger, European art of making movies. Offering close interpretations of the works of world-renowned directors like Cristi Puiu, Cristian Mungiu, Corneliu Porumboiu or more recently Adina Pintilie and Constantin Popescu, this book questions the “Romanianess” of their cinematic techniques, and places their philosophical roots both in a particular mode of thinking and within continental philosophy.
Deleuze and Guattari discuss the rhizome as being "absolutely different from roots and radicles" 6. The rhizome is explained via principles. 1 and 2: connection and heterogeneity.: "any point of a rhizome can be connected to anything other, and must be". Principle 3: "Principle of multiplicity" "There are no points or positions in a rhizome, such as those found in a structure, tree, or root. There are only lines". Principle 4: "Principle of asignifying rupture" "There is a rupture in the rhizome whenever segmentary lines explode into a line of flight, but the line of flight is part of the rhizome." Principles 5 and 6: Principle of cartography and decalcomania: Where traditional thought is 'tracing', a rhizome is a map. Tracing involves laying onto reality the pattern of structure, itself a construct. "The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious". They take the term plateau from Gregory Bateson, it refers to a sustained intensity. "We call a 'plateau' any multiplicity connected to other multiplicities by superficial underground stems in such a way as to form or extend a rhizome".
"Write with slogans: Make rhizomes, not roots, never plant!"
https://www.bloomsbury.com/au/american-eccentric-cinema-9781501336911/
This book argues that hesitation as an artistic and spectatorial strategy connects various screen media texts produced in post-war Romania. The chapters draw a historical connection between films made during the state socialist decades, televised broadcasts of the 1989 Romanian revolution, and films of the new Romanian cinema. The book explores how the critical attitude of new Romanian cinema demonstrates a refusal to accept limiting, binary discourses rooted in Cold War narratives. Strausz argues that hesitation becomes an attempt to overcome restrictive populist narratives of the past and present day. By employing a performative and mobile position, audiences are encouraged to consider conflicting approaches to history and social transformation.
A unique study of four major post-war European films by four key 'auteurs', which argues that these films exemplify film modernism at the peak of its philosophical reflection and aesthetic experimentation.
People nowadays think that scientists exist to instruct them; poets, musicians, etc., to give them pleasure. The idea that these have something to teach them - that does not occur to them.
The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.
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- Le Cinéma De Michelangelo Antonioni
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Postmodernism. Duke University Press, 1987.
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The Latest European New Wave: Cinematic Realism and Everyday Aesthetics in Romanian Cinema
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New Romanian Cinema, Christina Stojanova ed. Edinburgh University Press, 2019.
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From modernity to Neorealism
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Modern Fiction" in The Essays of Virginia Woolf
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