The regional cinemas of Europe have been either competing, ignoring or mirroring each other, in a global competition for recognition, positioning and international relevance.
The main questions of this issue of Ekphrasis are focusing on the common elements between the regional national cinemas. What makes them different? Is there anything like a Central and East European Cinema, or a wider, European filmmaking tradition? What has happened after the EU integration of these Eastern European countries in terms of cultural strategies and how did this impacted film industry, film consumption and film reception. Can we go beyond the story of the parallel discourses, of nations living next to each other without exchanging ideas. Although these cinemas have created their own cultural identity and aesthetic specificity, still the most important question is if they are more different than similar. There has always been a historical dialogue between these cinema cultures, where history was both a challenge and a barrier between the them, thus what are the common traits of these identify formation practices?
Discussing the cultural similarities and identifying the common grounds will allow questioning the transition from the homogenized cinema and cultural environments of the Socialist and, previously Stalinist, movie making, how did the film industries of the two countries have followed different paths. How did these transformations influenced the two cultural environments? Main topics for debates and papers (non exclusive):
- Nation representation and identity formation in contemporary cinema
- The problematic relationship between the film cultures in Central and Eastern Europe
- Re-configuring our common past and projecting a future
- Memory of the past and the re-inventing of history through cinema
- Issues of imagining the common past and the problems that stem from differences of perspective
- Do we tell different stories, or are the recent movies showing that there are related narratives, that shared imaginaries and common visualities are in motion?
- How is nostalgia manifested in the two cinema cultures, what is the relationship with the past?
- Abandoning national narratives and the integration in the global and European discourses
- Films as expressions of specific cultural experiences and their impact on society
- Searching for parallels between the two film industries and film cultures
- The themes and problems that face cinema makers in both countries – similarities/ differences
- Trauma and dealing with the recent past
- Exploring the common spaces and geographic tropes
Deadline for abstracts of up to 300 words: May 30th 2017.
Final submission is due June 15th 2017.
The articles should be written in English or French (for English, please use the MLA citation style and documenting sources).
For the final essay, the word limit is 5000-8000 words of text (including references). Please include a summary and key-words. The articles should be original material not published in any other media before. Graduate students are particularly encouraged to submit papers.
Ekphrasis is a peer-reviewed academic journal, edited by the Faculty of Theatre and Television, “Babes-Bolyai” University, Cluj-Napoca, Romania. Issue editor: Doru Pop
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