Drawing on what used to be the erstwhile internationalist cultural space of Communist Eurasia, the author reads socialistera and postsocialist films made in Romania and China as promoting a common aesthetics predicated on the miserabilism of Third Cinema. The book argues that, despite indictments that socialist cultures were saturated with the oppressing ideology of socialist realism in the 1950s and various forms of indoctrination thereafter, in practice, film directors had the leverage to tackle social issues even in those works that are deemed today “propagandist.”Refusing to endorse contemporary theories that seek to align the Romanian and the Chinese New Waves solely to Western cinematic practices, the author argues that China’s fifth and sixth generation films as well as New Romanian Cinema are hugely indebted to socialistera themes, as well as to the dogmatism of socialist realism. Identifying continuity rather than rupture between the socialist past and the capitalist present, the author seeks to redress an imbalance that contemporary scholars of Romanian and Chinese cinemas oftentimes ignore.
Drawing on what used to be the erstwhile internationalist cultural space of Communist Eurasia, the author reads socialistera and postsocialist films made in Romania and China as promoting a common aesthetics predicated on the miserabilism of Third Cinema. The book argues that, despite indictments that socialist cultures were saturated with the oppressing ideology of socialist realism in the 1950s and various forms of indoctrination thereafter, in practice, film directors had the leverage to tackle social issues even in those works that are deemed today “propagandist.”Refusing to endorse contemporary theories that seek to align the Romanian and the Chinese New Waves solely to Western cinematic practices, the author argues that China’s fifth and sixth generation films as well as New Romanian Cinema are hugely indebted to socialistera themes, as well as to the dogmatism of socialist realism. Identifying continuity rather than rupture between the socialist past and the capitalist present, the author seeks to redress an imbalance that contemporary scholars of Romanian and Chinese cinemas oftentimes ignore.
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