CEU eTD Collection Second Reader: Professor Vlad Vlad Naumescu Professor Reader: Second Siefert Marsha Professor Supervisor: Romanian non-fiction film industry Romanian non-fiction Documenting Post-Communism: In partial fulfillment of the requirements for the degree of (1989 –2004) Central European University Central European Andrei R Andrei History Department Budapest, Hungary Budapest, Master of Arts Submitted to Submitted 2012 ă By zvan Voinea zvan CEU eTD Collection to impose a new hierarchy in industry.the filmmakers bycollaborating with European the programs and companiestelevision enabled them of generation young by the gained capital cultural the hand, other On the capital. cultural social capital. and its economic long advantageof on the run take not itcould levelbecause and European This determinedcommunist societies. the On theexodus one hand, the of thecommunism. talented provided meuseful information young the Studioabout firstdecade during the thefallafter of filmmakers, hence, of the and exhibition of the films. On the other hand, the research in the research the hand, other the On films. the of exhibition and documentary film industry,by stressing relevant details concerningthe production, distribution Nicolae M Nicolae failure of the state-owned institutions. explainfilmmakersof group Europeanfestivalsthe inbehind2004 andto at the reasons a particular of success the determined which factors reveal the is to thestudy of main purpose institutions and the from agents social the spacein present non-fictionthe film industry. The understand relations the between Szélenyi andTownsleypost-communist enablesto the by cultural the conceptof proposed ‘trajectory important, production.adjustment’ Eyal, Equally engaging with Bourdieu’s theoriesAbstract regarding the different types of capital and the field of The conclusion of the study will reveal the significance of the cultural capital in post- The interviews that I have conducted with Alexandru Solomon, Lauren Solomon, Alexandru with conducted have I that interviews The My thesis analyzes Romanianthe non-fiction filmindustry from 2004by 1989 to ă rgineanu, important filmmakers from this period offered an important insight of the of insight important an offered period this from filmmakers important rgineanu, Sahia i i Studio failed to impose itself on the national Sahia Studio’s Archive Ġ iu Damian and Damian iu CEU eTD Collection Bibliography Final Conclusions Chapter 3: Independent companies and filmmakers Contents Legislation Interviews Journals Websites Filmography Books Conclusions Audience and Reception Distribution Intentions and Production Screening for Amsterdam: The directors and their films Background Conclusions Distribution and audience Documentaries about the Revolution Legislation and political background Chapter 2: From Non-fiction films: modes of representation The documentary film industry: production, distribution, exhibition Social theories: from a state-owned system towards a market oriented business Chapter 1: Three approaches to the post-communist non-fiction film industry Introduction ...... 65 ...... 68 ...... 67 ...... 69 ...... 65 ...... 70 ...... 55 ...... 1 ...... 66 ...... 61 ...... 44 ...... 42 ...... 63 Alexandru Sahia Studio ...... 57 ...... 40 ...... 50 ...... 28 ...... 34 to ...... 24 Sahiafilm ii ...... 44 ...... 28 ...... 49 ...... 15 ...... 9 ...... 9 CEU eTD Collection significance of the context in which the footage is produced. and the in events the of film footage documenting importance the placespace, social inthe better politicalthe system, apparition the newof thatbenefited figures from findtheir prestige to a during the study of infilm industry documentary the Romania after 1989,namely of change the communist Romania. inpost- actors media influential most the among Sârbu Adrian propelled figures Inpolitical a sense, the moment brings along the elements that will be recurrent Sârbu from been of capturedAdrian forhad by not moments Revolution,other the footage operator the the evidence of these events wouldbeen have probably covered inoblivion and confusion as many The capitalism. implement to and Institutions Western the copying of attempt the by marked be born, to about of was a newtype system its one centers, of represented which in thebuilding communist system lived its last days and will die together with its lastleader in a few days, while livefrom is astheevents but the moment National the study:Television,for symbolic our the news from the television. The ‘Night of the Generals,’ as it was later named, was not broadcasted Soviet Embassy that their of Committee Communistthe generals Party, two the commanded their units, announced the military supportof Ceau flight the after chaos the prevent to attempt the was not needed and triedand Stefan Gu to limit the effect of the http://www.youtube.com/watch?v=I83Cl75Bwco&feature=relmfu 1 Introduction Footage from the night at the Central Committee available online at On night the of 22-23 December1989,generals Iulian Chief Vlad (the the of Alexandru Sahia úă (the Chief of the Army) assumed the power simultaneously with other groups in Studio. 1 The tape of the events and the proximity of the new the of proximity the and events the of tape The 1 ú escu. In the headquarter of the Central of the headquarter the In escu. Securitate ) CEU eTD Collection such such as Br of the documentaries. However, it would be unfair to omit the significant studies from this realm, to concentrate on the subject of the film, rather than on the conditions that determined the release filmneglected of filmindustry.the subject, background The butthe tend tothe dedicated critics system oriented film documentary the affected industry facewhich had to newproblems. aconsumption- towards This evolution their for careers. factor a decisive also but challenge, justa not companies would represent andtelevisions programs with collaboration European the thatthe understood they Moreover, companies. own their decade, established first the was established in 1992; for more details, visit http://www.fav.ro/en.html “KinoKultura independent companies such as AGERFILM Romania’s present.” documentary,irrelevant toattend unable pressingthe social and issues political raised by 4 May 18 17 2 second, the while cut-off, were incentives state the once nineties, the endof the at collapsed almost only the inspecialized institution beforedocumentary production 1989, change inproduction,funding, andexhibition distribution of Onthe documentaries. one hand, onthe determinedthat context backandone step concentrate the Amsterdam go 2004, Iwill in Festival Film Documentary International the at selection official the by marked story success fall communism.of tracing from In dependent the evolution industry a state aEuropean to 3 Adina Br Adina Founded by directorNicolae M Funda th , 2012. th Ġ ia ArteVizuale Focusing only on film industry, documentary the thestudy completes previousthe works , 2012. My thesis analyzes the Romanian documentary film industry in the first 15years after the Video Publishing House ă deanu, “Death and Documentary: Memory and Film Practice in Post-communist Romania”, inPost-communist Practice Film and Memory Documentary: and “Death deanu, ă deanu’s article that concentrates precisely on collapse of the of precisely collapse on concentrates that article deanu’s , 6(2007), available online at http://www.kinokultura.com/specials/6/romanian.shtml [ 2 VisualFoundation Art On the other hand, the young directors started collaborating with the new the with collaborating started directors young the hand, other the On ă rgineanu in 1993; the website is available at http://www.agerfilm.ro/ was “identified [by the young filmmakers] as epitome of the filmmakers] [by “identified young the was ], company of filmmakers Vivi Dr Vivi filmmakers of company ], 3 or 2 Funda Ġ ia ArteVizuale , accessed May, 18 ă gan Vasile and Velvet Moraru Velvet and Vasile gan 4 Sahia Studio Alexandru Sahia and, towards the end of th , 2012. , accessed May, accessed , , the weekly , accessed , Studio, CEU eTD Collection Publishing House) and Alexandru Solomon (director Publishing House)andAlexandru Of and Solomon (director importance producer). particular theVideo manager of Cinema”, Drama and of University “Theat National professor (director, româneasc 6 Simpozionul-National-pentru-Refondarea-Cinematografiei*authorID_15-pageID_26-authors_details.html 5 Nicolae andproducer M director directorsthe founded theirindependentcompanies andwhatwere results?the did why industry; the influenced changes political the and legislation the did how filmmakers: young the of success the for motives the and decline state-institutions’ the of reasons the explain to intend questions of series second The round? way other the rather itis Or audience. the with andthe relationship distribution influence production, a choice does how the andfilmmakers and by producers the proposed documentaries of types between the differentiate can we extent what To filmmakers? documentary affectthe film industries European and national dynamics the of beyondunderstood industry theis film level and what the of relevance did approach? this How be business market-oriented industry to from state-dependent transition asked: canthe companies. fundingdocumentaries andby European collaboration with Programs andthe the television of by of role filmmakersthe determined a re-consideration generation from 2004 was of toa thus limited recognition nationalat European level or and thesuccess of youngthe articles. and interviews columnsby film published Valerian incritic Sava Mihai Fulger’s blog http://mihaifulger.wordpress.com/author/mihaifulger/ Valerian, Sava, For the purpose of answering the questions, I have conducted a series of interviews with aseries ofinterviews Ihaveconducted of questions, answering the For the purpose In order to demonstrate relevancethe of argument,the aseries of be needquestions to I will argue that the strategy followed by the ă , [“The New Wave” in the Romanian Cinema”], Bucharest: Grup Editorial ART, 2006 ART, Editorial Grup Bucharest: Cinema”], Romanian the in New Wave” , [“The Observator Cultural, 6 2000 – 2004, available online at http://www.observatorcultural.ro/Proiect- at online available 2004, – 2000 ă rgineanu (December 2011, Bucharest), Lauren Bucharest), 2011, (December rgineanu 3 Sahia Studio Sahia Observator Cultural and led to an institutional an institutional collapse, led to „Noul val” în cinematografia 5 or Mihai Fulger’s Mihai or Ġ iu Damian CEU eTD Collection 11 10 2010), 222. 9 8 struggles in post-communist Central Europe, represent the view of filmmakers to usedbythe techniques modes different and the of variety representation of reality, I will refer in toexplain order the theAdjusting realmof documentaries, filmindustry.the the scale to mostly toin exhibition Stella of places these of significance the reveal will Iordanova Dina Bruzzi to belonging festivals Jäckel distribution usedby Accordingly, with and of exhibition concepts the studiesthe Eyal&all.of industry, identification Isuggestan accurate of institutionsthe involved in production, changing near ‘fieldof theto lensand coming cultural the namelythefilm production’, rather scaleor Decreasing the of actors. social category a particular of success the for explaining particular filmmakers group of andthefailure state-owned of companies.the markeddetermined ofa itsmilieu success evolution that the contextthat the the and explain in film industry understand documentary the enable to will ‘trajectory adjustment’ transition, the market-oriented system. Combining the evolutionary and the involutionary theories regarding the beextenthelpful industry inexplainingfrom transition this can a the state-dependent the to 7 by andTownsleyintroduced Eyal, theory the adjustment’ Szélenyi chapter. by produced in Studiothe years first the after theRevolution, which I analyze inthe second atthe research was the Angus Finney, Jäckel, Anne Gil Eyal, Iván Szélenyi and Eleanor Townsley, Eleanor and Szélenyi Iván Eyal, Gil Bill Nichols, Stella Bruzzi, Stella 8 andFinney The reference to Bourdieu’s concepts of ‘cultural, economic or politic capital’ isrelevant capital’ politic or economic ‘cultural, of Bourdieu’s concepts to The reference For the theoretical overview of post-communism, I engaged with the ‘trajectory European film industries, Representing reality: issues and concepts in documentary, New documentary, The international film business: a market guide beyond Hollywood 9 regarding the film industry regarding thefilm industry and meaningful studies the film regarding Sahiafilm (London, New York: Routledge, 2006). Archive, had the opportunity watch wereI to documentariesthe (London: British Film Institute, 2003). (London: Verso, 1998). Making capitalism without capitalists: class formation and elite 4 (Bloomington: Indiana Univ. Press, 1991) 10 and Bill Nichols Bill and (London, New York: Routledge, 7 and towhat investigate 11 as main as CEU eTD Collection ariciului/The Curse of the Hedgehog Curseariciului/The of Iepan (Bucharest: Editura Tehnic Alexandru Solomon 1990). (Mihai Constantinescu, 1995), histories andmemories hidden before 1989,such as alternative the namely of after recovery the 1989, adopted strategies the of one which reveal besidesinterview important, the with Damian,will I by films acouple examine produced Sahia followedstrategies Equally ofadapting to bythemanagersasmeans new the requirements. studio, makingor difficult assumptions to prove. outsider inthefilmindustry. Hence,there is a certain incomplication drawing conclusions risky by an addressed when topic, this especially prudence dealing with leadwhen to institutions and managers top tothe imposture incompetence addressed of accusation public of the mention permanent the to not film critics, and filmmakers betweenthe inevitable disputes In addition, the to reconstruct. difficult makes todocumentaries dedicated absence ofmagazines thehistory of regarding film industry. 12 theoreticians of the genre and toLauren Lauren 1ă Sahiafilm The second research chapter compares five movies produced by independent filmmakers: byindependent five comparesmovies produced The second chapter research The first research chapter investigates, on the one hand, the decline of state-owned of the decline the hand, one the on investigates, chapter research The first lack of sources a topic: the extensively such cover cannot theapproaches However, Ġ iu Damian, scu Ġ i lacomand by analyzing the legislation, the influence of the political factors and the and factors political the of influence the legislation, the byanalyzing Despre documentar…si ceva inca inplus Marele Jaf communist/The Great Communist BankRobbery communist/The GreatCommunist Marele Jaf ă , 2003). Sahiafilm ă : Decre Timi Ġ after 1989from after institutional with an together perspective the eii/Children of the Decree of eii/Children ú oara 89, (2004) Ġ iu Damian , Ileana St (Ovidiu BosePa 5 12 , [ in tomap order the Romanian documentary About documentaries…and something more ă 6ă nculescu nuner (2004), Dumitru(2004), Budral ú tin Podul/The Bridge ă ă , 1990) or , 1990) zbuna Ġ i/Do not revenge us i/Do notrevenge Panc (2004), Florin (2004), (Sabina Pop, (2004), and(2004), ă Blestemul ], , CEU eTD Collection film 14 Editura Funda 13 Alexandru Sahia Sava distribution of the films. The other synthesis of the history of Romanian film, written by Valerian audience as well as the role of the state institutions that assured the financial support or the Among the by limitations released either of documentaries films aseries of his analysis, one can enlist the lack of references regardingCiulei Thomas the DistributionFilm inRomania of by edited the “ECRAN” Magazine(1991-1992) attempts suchas tofoundBetween wereacouple magazines, cinema 2004there 1990 and of documentaries, C dedicated In to chapter the andthe producers. directors inwere produced by timeframe, this communism), that examining the the documentaries &ă with collaboration andtelevision European programs the companies. audience. The comparios will reveal the reasons for funding the companies and the impact of the the ‘New Wave’ were discussed by Valerian Sava, Mihai Chirilov or Lauren for support the or legislation issues regarding film, important where to dedicated special column weekly the After 2000, with documentaries. ProCinema, Valerian Sava, C liman offers ausefulinsightfilm yearsindustry of the thefirst ten (including of post- ], (Bucharest: Editura Meridiane, 1999). ă lin C lin 14 has as an ending point the year 1989, but provides valuableprovides hasasan regarding year1989,but information ending point the the Previously, I mentioned the absence of magazines dedicated to magazines dedicated documentaries. mentionedthe absenceof the Previously, I Examining the history of Romanianthe cinema from 1897 to2000,” ă liman, Ġ but regrettably for my topic, they were more concerned with fiction filmsrather fiction more with concerned my forwere they topic, butregrettably iei Culturale Române, 2001). Istoria critic Istoria filmului romanesc 1897 -2000 Studioduring communism. Asta e/Europolis ă a filmului românesc contemporan (2001) in terms of intention, production, distribution and distribution production, intention, of in terms (2001) and Noul Cinema/The New Cinema , [ Observator Cultural Observator The history of the Romanian film 1897-2000 6 Department NetworkCinema Halls andthe of Sahiafilm , [ The critic history of theRomanian contemporary , or produced by private companies., by produced or private [Cultural Observatory] has a Observatory] [Cultural Ġ iu Damian ă 13 (1990-1998), or (1990-1998), liman reviews the liman reviews film critic C critic film ], (Bucharest: ă lin CEU eTD Collection important issues important Florin interviews production were discussed,whilethe with Iepan regarding or of methods with information.accessing the conducted From Alexandru interview the Solomon documentaries,also but contextwhich the determined their production. the post-communist dynamics of dynamics post-communist the insight a new of evolution of the on acaptivating documentaries andannounces the perspective Cultura issuesof special as the (such critics of with Romanian the reviews the collaborated studies, institutions.if Theseextensive only state that concludes the wasvalid,regarded “death” this the institutions anddo thatnot the new dependproducers financial Br on their support. of state-driven line the between collapse the aconsistent drawing film industry, documentary audience anddistribution,it against announcedconvincingly argues the deathof the “KinoKultura 19 http://www.romaniaculturala.ro/articol.php?cod=7029 Discovery”], and Sahia between http://www.kinokultura.com/specials/6/romanian.shtml 16 In Cinema. Romanian the issueto special the to and Solomon, Alexandru and Sava Valerian by signed articles relevant includent Archive Film National Hungarian the 17 17 15 of issue eight the Iepan. Therefore, or of Solomon new documentaries of the with release the simultaneous Cinema, Romanian the to their attention and CristianCannes inas media Mungiu international turned 2007, the PuiuCristi at 2004 or 18 KinoKultura, Special Issues 6: Romanian Cinema, May 2007, available online at online available 2007, May Cinema, Romanian 6: Issues Special KinoKultura, Adina Br Adina Mihai Fulger, Mihai Sturza, “Documentarul românesc: între Sahia Sahia între românesc: “Documentarul Sturza, Mihai Fulger, Mihai Dilema Veche, Moveast th , 2012. My interviews with the directors of documentaries prove to be one of the few reliable Following the successof Following the Wavemarkedby such Romanian New of triumphs directors the 18 , International Film Periodical, 8(2002). ă or deanu, “Death and Documentary: Memory and Film Practice in Post-communist Romania”, inPost-communist Practice Film and Memory Documentary: and “Death deanu, , 6(2007), available online at http://www.kinokultura.com/specials/6/romanian.shtml Dilema Veche 188 (2007). Cultura 19 dedicated to documentaries) enable us to understand not just the , 48(2006), available online at Kinokultura Sahia Studio Kinokultura . , accessed May 18 , May accessed online journal 6/2007) (volume . Although the article offers little insight on the on insight little offers article the Although . 7 Moveast , Adina Br ú i Discovery”, [“Romanian Documentary: [“Romanian i Discovery”, , th 15 , 2012. a journal publishedscholarly by ă deanu’s 17 crucial opens crucial article 16 , dedicated one, dedicated , accessed May, accessed , ă deanu CEU eTD Collection communism. post- be of models to adapting can perceived production as the companies Therefore, it theRomanian representativesociety. to butcan befilm industry, documentary considered model Europe’s was not migratingeconomy aprocesscharacteristic towards only and the to film industry. Changing the type of production, dealing with the decline of the state control in the theRomanian post-communist of evidence themselves represent films produced were which the countries. Hence, the stress lays on the topic ofthe documentaries. On the other hand, the wayin neighboring the with relation the and minorities the regarding question the with or transition the adapt abortion with hidden propaganda,to Jewish to and difficulties the the question), crimes, topics Romanian the about post-communism such dealingwith socialistthe (theas traumas will during study. the appear Iepan’s that received the most attention such asSolomon’s such attention most the received that filmmakers:independent from this my perspective, issubject balanced in favorof moviesthe SahiaStudio. the 1989 at Sahia manager1989 at of and the 20 Lauren with interview the hand, other the On Televisions. and Programs European the with collaborate to decision the on concentrating film, the of meaning and intentions of in terms relevant are Ciulei Thomas Liternet Publishing House, available online at http://www.liternet.ro/ The thesis title can be read twofold: on the one hand, the movies analyzed involved with involved analyzed movies the hand, one the on twofold: be read can title thesis The The reviews by liternet.ro The reviews gathered The Children of the Decree Children of Ġ iu Damian, one of the most important directors of documentaries before of documentaries directors important most the of one iu Damian, Video Publishing HouseVideo Publishing . The rest of the resources that I have used during the research 20 cover mostly by cover produced documentaries the 8 The Great CommunistThe Great BankRobbery . offered important insights regarding insights important offered or CEU eTD Collection 3 2 it. be using would way I different the and authors by the used concept the between communism 2011), Adrian T. Sârbu, Alexandru Polgar, Matei, Verso, 1998), Richard Sakwa, capitalism without capitalists: class formation and elite struggles in post-communist Central Europe, consulted refer mainly to the topic of “post-communism”: (Gil Eyal, Ivan Szelényi and Elanor Townsley, 1 “allfeature refer factthat ruledthe of the latter to supervision managers who the institutions; the orthodoxy. monopoly, by control bureaucratic and aesthetic-ideological was characterized production state films.inAlthough not samethe intensity period, Faraday the during argues cultural the that including industry film production,where it distribution administrated and exhibition of the film industry. documentary realm the of particularizingtransition and on generalizing of characteristics the the societies, Central European the affected that change social regarding the concepts or series post-communism, of framework the within Therefore, incentives. state a andinfusion from the total of the producers separation independent without European capital, by business, dominated oriented themarket into 1989 system from a state-owned changes the Social theories: from a state-owned system towards amarket oriented business industry film non-fiction post-communist the to approaches Three 1: Chapter in corporate institutionsin corporate establishedbythestate,” Faraday, George Faraday Why “post-communism” and not “post-socialism”? Although the thesis address to the social realm, the studies Mormântul comunismului românesc, The socialist states were characterized by the Party’s control in the cultural domain, in thecultural control bytheParty’s werecharacterized states The socialist namely topic, the of level macro the understand to enable will study my of level first The Revolt… ], (Cluj: Idea Publishing House, 2010). Therefore, I will prefer this term for not creating confusion creating not for term this prefer I will Therefore, 2010). House, Publishing Idea (Cluj: ], 2 While the monopoly meant that the ‘creative workers’ were allowed to work “only work to allowed were ‘creative workers’ the that meantmonopoly Whilethe , Revolt of the filmmakers , 52. Post-communism (Pennsylvania: The Pennsylvania State University Press, 2000), 52-53. Genealogii ale post-comunismului, [ Theof grave theRomanian communism , (Philadephia, Penn: Open University Press, 1999), Alexandru 9 3 the bureaucratic control in manifested control the thebureaucratic [ Genealogies of the post- ], (Bucharest: IBU Publishing, 1 I will engage with a (London: Making CEU eTD Collection http://www.youtube.com/watch?v=dhezZGfFNDs cu n available online at http://www.youtube.com/watch?v=mmqEHsd-eT8 8 Press, 1991). construction of the Iron Gates Plant ( ideologyunder socialism: identity and culturalpolitics in Ceau 7 Communist Party and admirerof the U.S.S.R 6 5 4 state. centralized offered by the resources material and symbolic assure the to in order filmmakers and exhibition infoundation 1950 of the of the newsreel industry infirst 1948 bynationalization cinemathe halls and the studios and second,by the in the cinema halls. norms ideological by established Party leadership.” the This led and aesthetic system of a single conform to to wereexpected producers cultural authorized to a competition between the and in stories contradiction with officialthe One of discourse. momentsthese happened in 1988, 1989 whichinitiatives banned important of in documentariststhe show imagesto their attempt period 1982- in the documentary especially censorship, The under of 1950-1989. production was films forimportant Studiothe lifeproduced source remain documentingeveryday during that negate it, it anddidnot position this assumed Although regime. of instrument of the propaganda various events. regarding or the Presidentfilmsby instructions’) thecountry, ‘safe-work outside (mostly commandedplants the the visits of official the films documenting newsreel, suchas the by state the commanded In this sense, among the most valuable materials were dedicated to the heavy snowfalls from 1953-1954: from snowfalls heavy the to dedicated were materials valuable most the among sense, this In For an extensive analysis of the cultural policy in Romania during state socialism see Katherine Verdery, In the memory of Alexandru Sahia,Romanian 1964 publicist in and the interwar1948 period (1908 – 1937), memberof between the Party Communist Romanian ofThe name official The Faraday, ă me 7 By hadmore1989 the employees company films over than 300 300 andproduced Ġ In Romania, the Romanian Workers’ Party ii/Marele Viscol/Fighting the Snow – TheGreat Snow Blast, Revolt… , 53. Alexandru Sahia Ultima Primavar 8 It would be an overstatement to consider Sahia only an only Sahia consider to overstatement an be would It , orthe flooding of the island Studio ă laAda-Kaleh/The lastSpring at Ada-Kaleh 10 6 in order tocontrol in order production,the distribution ú escu’s Romania 5 assured their dominance over the film 4 1954) available online at online available 1954) ], both accessed May 27 Ada-kaleh , (Berkely: University of California in 1968 for the th , 2012. (1968), In lupt National ă CEU eTD Collection 14 13 struggles in post-communist Central Europe, 12 Center forInternational Studies, 1991). 11 system”,in Eyal&all, of capitalism to explore the range of possible actors and institutions that can sustain a functioning capitalisma generic term describing a diverse set of social actors and institutions.For this reasons, we contrast different types 10 ceva înplus between agents and structure: agents matter institutions,” aswell agents as andstructure: between agents is “interaction an result The with. accustomed were already they that of practices set the continue considers Moldovan “the savior of the Romanian documentary industry” in his book in his industry” documentary Romanian of the savior “the Moldovan considers or evolutionary an only Using cooperated. they which with institutions the and filmmakers the between relationship in the as well as authorities Romanian the by issued legislation the andimperatives,” constraints institutional to roleindividualinstitutionsnew “sothat asshapingof the individuals the behavior conform will advanced aconcept ‘path-dependence’, by Stark theory David or from infunctional institutions toreach West the order same the andtheinvolutionary results capitalism to adapt societies the arguedthat which theory ‘evolutionary’ emerged:the theories two countries, European Although he did not mention this moment in the interview that I have conducted with him, Lauren ‘trajectory adjustment’ by was andTownsleyEyal,proposed Szelényi to what they know and experienced adaptback from still in tocapitalism, to useactors oldthe samepatterns going the order regime that far. A combined result of these two theories, namely 9 by Lauren documentary of the fact allowed production when,that tothe the due David Reu, Eyal&all, Eyal&all, Gil Eyal, IvanSzelényi and Elanor Townsley, David Stark, David Capitalism should not be regarded as a definite aim or concept. Szelényi &…argue that “capitalism will always be always will “capitalism that &…argue Szelényi orconcept. aim adefinite as be regarded not should Capitalism In order to analyze the effects of the political changes from analyze Central the 1989regarding ofthe changesfrom political theIn orderto effects Ġ Making Capitalism…, Making Capitalism [“Something extra about documentary”],(Bucharest: Editura Tehnic iu Damian, the manager of Sahia, Aristide Moldovan was fired. Secvente din istoria tarii Path DependencePath and Privatization Strategies in EastCentral Europe Making capitalism… …, 9. …, 40. 10 by state-socialism and institutions destroyingthe the copying [ Fragments from the historyof the country , 3. (London: Verso, 1998). Making capitalism without capitalists: class formation and elite 13 but acknowledge the probability that the agents the that probability the acknowledge but 11 11 which assumes that the social the that assumes which ă ], (Bucharest: Editura Reu, 2009). , 2003). 14 which manifested both in both manifested which Despre documentar… 12 Cota zero/Elevationzero (Ithaca, N.Y.: Mario Einaudi who do not neglect the neglect not do who 9 Ġ iu Damian ú i înc ă CEU eTD Collection ‘symbolic capital’) are the winners. The terminology used by terminology Bourdieu winners. The arethe ‘symbolic capital’) capital (economic, socialsocieties, the social actorsand and the institutions cultural) adapt by taking advantage of the differentand types thoseof who are able organized by in favor CNC toof their ‘protégé’. combine them (thus wasgaining assured by ex-members in from 2004 management factthe betraced dependence’ could bythe this that example 2000 to of the Communist Party who The and wereadopted. by ‘path newestablished substantial changes other the Government influenced the result legislationof was changed, and followedthe a German model, while in 2002,contests the name of CNC was re- negate interwarandOncethe period communistin to period. the again, 1999,the thus, from institution the recall to inorder Cinematography of Office National Cinematografiei/The ‘Bildung’ achieved in ‘Bildung’ achieved of a certain timeperiod state’). (‘embodied cultural good such as pictures, book, in our case films (‘objectified state’) and as‘cultivation’ or as a form state’), of trainingin acquired of or industry),education (‘institutionalized process the film field case the (in documentary as labor’our ina ‘accumulated particular understood identification with and social the institutionsactors discussed.‘Cultural capital’ can be 15 Na Oficiul to changed was institution the of name the addition, In legislation. from French in film industry the 1997,inspired a and regarding adopted new legislation following filmindustry the new the Frenchmodel.Moreover, the from political change 1995 Na developed they in which context the and filmmakers individual between connections the neglect issue and the oversimplify would theory (path-dependence) involutionary Pierre Pierre Bourdieu, Ġ ional al Cinematografiei/National Center of Cinematography Center ional alCinematografiei/National -CNC of As Eyal& all suggest, in the way to capitalism that characterizes the post-communist the characterizes that capitalism to way in the suggest, all Eyal& As An example foundingmodel of evolutionary the was adaptation of of the The field of culturalproduction: essays on art andliterature 12 (Cambridge: Polity Press, 1993). 15 needs clarification and in 1990 for in regulating1990 Ġ ional al ional Centrul CEU eTD Collection 19 18 filmmakers. independentthe such as the SahiaStudio, the National the of Television, National and Center Cinematography socialthe is between of vital ‘communities capital the in bonds the understanding practitioners’, importance of the Hence, viewers’. of as‘aconstituency or of texts’ as ‘acorpus documentary 20 17 2012. formation,” institutional as status its is generally filmmaking documentary Nicholsquote I support of affirmation, this of social involvedactors inthe documentary film industry such as and producers distributors. In capital.htm http://www.marxists.org/reference/subject/philosophy/works/fr/bourdieu-forms-capital.htm Sociologythe of Education (New York, Greenwood), 241-258, available online at 16 in post-communism,” dominant is capital “cultural that in spaceand social the in aposition types is assuring of determinant capital between different ‘trajectory’. This is Eyal what and his argue,namley, colleagues the importance of that shifting help and actors andinstruments for assuringtheinstitution thesocial staying onthe the involve only symbolic gratification, but sometimes significant amounts of money. incentives (direct by selling or contest), property, the important winning awardswhich notdo institutionalized in forms the of property rights.” which resources linked inare a group,” to…membership no longer relevant when competing with the foreign industries, while the economic capital, Bourdieu, Nichols, Eyal&all, Nichols, Pierre Pierre Bourdieu, Furthermore, the ‘social capital’ refers to the “aggregate of the actual potential or actual of the “aggregate the refersto capital’ ‘social the Furthermore, These types of capital are not independent in the social space, but determine each other each in determine space,but social independent the not of capital These types are be may and money into convertible “directly is capital economic the Ultimately, . Representing Reality Representing Reality Making Capitalism..., The forms of Capital, The forms of capital , 14. , 14-31. 7. http://www.marxists.org/reference/subject/philosophy/works/fr/bourdieu-forms- , first published in J. Richardson (Ed.) Handbook of Theory and Research for 13 19 17 This type of capital can be acquired from state who argues that “what characterizes the characterizes “what that whoargues 20 because the social (political) capital is capital (political) social the because 16 in case identifiedour with group the 18 , accessed May 27 May , accessed before referring to th , CEU eTD Collection 24 and the producers or distributors: or and producers the audience the critics, the with ittogether field defines cultural from the creator The spaces. social in the agents the of magazines influencestheposition journals, such as structures the academies, 23 itproduced andbehind The on the final process the product. that milieu the to in reference art of work the understanding of importance the emphasizes it institutions the in theyused operate to under communism,” actors such as members of classes or elites, as actors whose behavior is affected by the and collective individual factnature “weconceptualize that the acceptance of due tothe However, of analysis,” of our center atthe actors “the place theories two the between synthesis The institutions? for and individuals for both available this Is relevant tool for both categories. both for tool relevant 22 capitalism… filmmakers.independent the for and Sahia both for capital’ ‘cultural the was significant how chapters I will Particularizing the (documentary) theory this film industry,to in investigate research Iwill the analyze the relevance of the statement argued by authors of 21 the replace cannot important, though Pierre Pierre Bourdieu, Eyal&all, Eyal&all, Eyal&all artistic positions defined by possession of adeterminate quantity of specific capital (recognition) manifestationsof the involved agentssocial in field…is inseparable the oforfrom the space valuable…are likely to be downwardly mobile. political capital from communist the eraare not able to convert thiscapital into anything endowed with cultural capital. By thosecontrast, who exclusivelyrelied on now devalued are capable of ‘trajectory adjustment’,which at thecurrent juncture means if they wellare Particular importantParticularis toengage with notionBourdieu fieldof of cultural production, , Making Capitalism…, Making Capitalism…, Making Capitalism…, according to which social which actors social to according The space of literary or artistic position-takings, i.e. the structured setof the [Who] were ofat thetop social hierarchy under socialism state can there only ifstay they The field of culturalproduction: essays on art andliterature 39. 39. 6. know-how 14 22 therefore, the emphasis lies on the individuals. the on lies emphasis the therefore, needed projects.” for sustainable developing 21 relationality 23 the affirmation might serve as a (Cambridge: Polity Press, 1993). between the agents and agents the between Making 24 as CEU eTD Collection Routledge, 2010), 222. 26 25 for,” budgeted been have film the of elements the of most which for and be begins shot to offilmmaking film the production “the when I will stage as to latter, the refer changed at that system and what socialism state the by the understood post-socialist the production,filmmakers what andinstitutions challenges what between fordifferentiation and far so used a European concepts the with identification but a definition, productionjust company were. For systems of distribution Notionsproduction, and exhibition.neednot suchasproducer/production The documentary film industry: production, distribution, exhibition economicstudio) or equipment (both and real estate). tothe connected of filmmakers number experienced large cultural the (by socialism),brands of negotiation of the Thismeanta adapt. tofaceandnew new system incentives, challenges had to Sahia a state types of capital it timethe political As due reasons. to thespecializedbeforeon only studio the 1989,dependent owned:of most socialinstitutions, the govern who actors the by changing or institutions and and laws the changing political as one both by ithadin adjust to adaptation, this France).However, from European Union (especially of the most powerful a capitalisttowards marked system,import by of institutions the from and legislation the matters such matters fund-raising, The isandforas keypersonneldistributors. hiring arrangingproducer andcontrols supervises co-ordinates, she]initiates, [Heor managerthe of afilm… creating Angus Finney, Bourdieu, In conclusion, documentary the film industry changed from systema state-dominated of forces. field this conserve or transform to tending struggles of this specificand, the at same time, byoccupation of adeterminate position in the structure of the distribution capital. The literary or artistic field is a field of forces, but it is also a field of The second part is dedicated to the differences between the Western and Romanian Western the between differences tothe is dedicated The second part The field The international film business: a market guide beyond Hollywood , 30. 15 25 (London, New York: 26 while the producer “is producer whilethe CEU eTD Collection 29 28 filmsthe longer no beginningwere shownatthe film of a feature and the in demand support continued to productionthe in years,more first asa the reflex until theStudioprivatizing in Western systems. with their correspondents compared secure position 27 from demand,” audience “wereinsulated filmmakers pressures of the financial at the of support, ‘protection’ state the argues that, the film industry, Faraday characterizingthe Soviet in However, reportage. studio mostly specialized company hadits own the rarely television wherethe television, and at aim halls,specific propaganda cinemaof with project.” involved throughout all phases of the filmmaking process from development to completion of a efficient the resources. Lauren resources. the efficient distribution had nottherole of gaining profit, butin gaining capital morein control order hence the capital, of economic in directed acquirement the was not aim command. The indirect bothinThe single eitherinvestor anddistribution theproduction by direct or was the state, orthodoxy. aesthetic-ideological the and control bureaucratic monopoly, by state characterized producers. or independentthe state the of role the neglecting deliberately them, to only research my limit will I industry, Romanian the Faraday, Lauren Finney, 1989 brought a change1989 brought inthemeaning and of producer Although production. state the As for exhibition, the documentaries were mostly shown at the beginning of in films beginning shown atthe mostly were of documentaries As forthe exhibition, soharsh. not censorship was the where documentary artistic and scientific labor andtherewasasection moviesof protection), movies, or ordered (presentation who latentpartners of alot very competitive astudio being was themovies, section second spenta lot…The state and the movies therewerepropaganda namely change, As I mentioned previously, in state socialism the production of documentaries was Ġ iu Damian interviewed by author,the Bucharest, April 22 27 The international… Revolt… Dueto importance the funding of and television the companies in programs European [It] had a section of protocol, thus it paid the independence with in had with something asection it[It] independence the paid thus of protocol, , 2. 222. Ġ iu how Damian functioned before SahiaStudioshowed the 1989: 16 nd, 2012 29 therefore having a more 28 CEU eTD Collection http://www.observatorcultural.ro/Scrisoare-dupa-IDFA*articleID_12418-articles_details.html IDFA Bucharest, April 27 April Bucharest, 32 31 2012. 30 Iepan. or Solomon have film supposed documentary 20minutes,by stipulationharshlyto contested maximum Romanian film industry.documentary Moreover, according the law to from 2002, the ‘pitching sessions’ as vital in film theWestern industry is somethingis that not present in the interviews other in numerous present but letter, in the mentioned genre and as a stage of the minor as a documentary the perceive critics filmmakersand of ‘community’ the Second, office. director’s career on theirIDFA andfor absence the from theirof structures “commissioning asignificant editors”, public way to feature films. ofThird, any official althoughfrom the National Television,not the CNC theabsence concernfour the filmmakersstressed collapse of andfor companies Sahia, the the to or from the Association of Film Critics at filmmakersthe from IDFA in letter senttheir Minister tothe of Culture in December 2004. Romanian filmindustry were still Iwillmention evident: only a few,which were addressedby and industries European the between differences The in documentaries. or films feature in specialized either whofounded theirown production companies, thefilmmakers pioneers were financing. On hand, other the 1989announced thebeginning of aparallelindustry, whosefirst emphasized the need tocontinue the production of documentaries by finding another sources of and theirposition of redefined Sahia managers the As aconsequence, decreased. documentaries of the documentary was the role that it had to fulfill in the society. I have argued that, while that, argued have I society. fulfill inthe it had to rolethat was the of documentary the Alexandru Solomon ironically recalls the protest against the article from the law in the interview conducted in conducted interview the in law the from article the against protest the recalls ironically Solomon Alexandru Interview with Solomon, available online at http://atelier.liternet.ro/articol.php?art=2801 Alexandru Solomon, Ileana St ], published in Blaming Romanian the Minister of Culture for thelackfor of independentsupport the But probably one of the important changes and a separation from changesimportantBut probably from of and aseparation socialist the the perception one th Observator Cultural, 2012. 32 ă nculescu, Dumitru Budral No 251/December 2004, available online at online available 2004, No 251/December 17 ă , Florin Iepan, Scrisoaredup 31 , the importance of trainings or ă IDFA , accessed May 28 May , accessed , accessed May 27 May , accessed [ Letter after 30 th , 2012 th , CEU eTD Collection 35 34 co- the Finney concludedthat Audiovisual Observatory, of European the report Analyzing the in consisted in supporting in co-productions the tocreate a competitiveEurope order market. articles_details.html 33 expansion(Hollywood) in The initiativeEurope. belonged tothe filmmakersFrench inproductions, of established in1989by Europe tobalance Council the order theAmerican independent fund Romanian films, apan-European toco- documentary EURIMAGES, dedicated production treaty.” co-operationthrough venture orpartnership, ajoint asapart as of an or officially co- sanctioned in involves process co-production the oneparty than production more “afilm refer to as that will I Western, is agency As the co-production. of form in the companies television foreign the with collaborate to and Programs access theEuropean to had they in thecareer advance to order in that, andrealized for newpatrons searched filmmakers independent the realize, to difficult 1989differed after filmmakers from ‘Sahiathe type’. interactiveusing strategies reflexive modeor of by representation, documentary the the proposed mode of representation and inclined the balance in favor of ‘creative’ documentaries: either a privilege.” not necessity, o becomes isby documentary paralyzedapathy, the civic tohistory, society the and regards of majority the attitude isthe amnesia the where as Romania acountry In communication. of instrument inter-cultural history, form the spectacular andknowing a social acreative critique filmmakers“a by documentariesthe areperceivedbythemselvesas independent the produced inform hadand structure, to aclearnarration and wereproduce before documentaries 1989,the Anne Jäckel, Anne Finney, Letter after IDFA As collaborating with Sahia or with other the state institutions proved impossible or The International… European film industries, , available online at http://www.observatorcultural.ro/Scrisoare-dupa-IDFA*articleID_12418- , accessed May 27 May , accessed 34 Following leads tooneof co-production main the of the supporter 217. 33 From this perspective, they preferred to engage with other kinds of engage other with to they preferred From this perspective, th , 2012 (London: British Film Institute, 2003). 18 35 and CEU eTD Collection http://www.bbc.co.uk/radio4/reith/reith_history.shtml 38 be to used more often traditional alongside methods, such archivedocumentary and as 37 General Manager of BBC from 1927 to1938: festivals. Itcoversfilm Europe. training, andthesupportof promotion, distribution development, by was inCommission European established supportthe the 1991“to audiovisual in industries 36 documentary from BBC promoted verybeginningthe under the managementof John Reith, way in which BBC works is offered by Stella Bruzzi, who comments about the type of of overview the A short filmmakers. independent for Romanian the producers be(co) successful were perceived in 2002. waysin opposite and the Stipulation minutes documentaries the which European emphasized the 20 length limited the according Romanian Law documentary movies the of to which the to between The the contradiction min. beleasthave 70supported. to needat documentaries to mentioned: the first, Uniteda Kingdom was not member of this fund,and second, the needbeimportant aspects to Two bytheauthorities. film festival of organized a documentary Festival, one of the topdocumentary festivals in Romania who was organized dueto the absence peers.” national astheir asmanyadmissions times average 2.7 on “attract they and counterparts”, national cent per 100 their than better “travel productions 39 JohnReith was the General Manager of BBCthe fortwo decades (1927-1938); more details on Finney, Finney, Bruzzi, Following this pattern, Bruzzi argues that “the current vogue ( teachers and audience as willing pupil” model of documentary. moral obligation itsto audience toimpart worthwhile information. This isthe “filmmakers as entertain came from an elitist conception of the role of the media, that the BBC had a sense of Besides EUIMAGES and MEDIA Program, the foreign provedto companies foreign television Besides the EUIMAGESandMEDIAProgram, New Documentary, The international… The international… 37 The program The program played anessential role in ASTRA organization especially the of Film “John Reith’s dictum that factual broadcasting in this country should both educate and educate both should country this in broadcasting factual that dictum Reith’s “John 220. 78. (Routledge, Great Britain, 2006), 51. , accessed May May 20 , accessed 19 th , 2012. 36 39 Thesecond program, MEDIA 2000s ) is for reconstruction 38 the CEU eTD Collection the past still in past present. the the persists 42 41 40 the Securitate the and Party the of members and victims witnesses, the with interviews By deviation. punish is any capable to Party the in toprove them members that theParty order shown to which was Affairs by of Internal Sahia andMinister the eventproduced the reconstruct made to intended Jewishalsodeconstructby propagandaof the Communists.to documentary a group It The film by toinvestigatedirected proposed Solomon robbery the National the of Bank in1959 it. with become obsessed have documentaries at their peril, reconstruction into filmmakers venture in that warning[…] 2003 BBCFour) the Headof currently interviews, Janice Hadlow for despite and History, (then Channel 4Commissioning Editor material. for archival even replacement to or asupplement as reconstruction dramatic of rise “the namely making, indocumentary of practice the occurred a shift and 2006 2000 Moreover, between archival image.” to audience’s the guideresponses hierarchy,words interviewees…within this signaledis whatbeing process beenorof hasalready in demonstrate the beingretrieved archive to bymaking other at BBC: referring ofthedocumentary- insights overhelpful shepresents byBBC.Furthermore, co-produced to informationthe use of mentioning2003 is that theyearin archival both Solomon which and Iepan directed their documentaries sources, refersshe claims mainly that: to the “thesources reconstruction purpose of its of the events such using actors, heras argument the is relevant voice-over when or the words of the Bruzzi, Bruzzi, Bruzzi, gangsters How didco-produce,How for example, BBCdecideto New Documentary, New Documentary, New Documentary, 42 , Solomon proposed to go beyond the layers of propaganda and show the motivation of and to imposeand to on publicthe the debate of importance and pastthe the wayin which 43. 37. 51. 20 The GreatCommunist BankRobbery 40 Although Bruzzi 41 ? CEU eTD Collection 46 45 campus.com/v2/page/masterschool/masterschool_tutors/1/ http://www.documentary- Events), and Development (Director Grunert, Olaf campus.com/v2/page/masterschool/masterschool/ 43 exhibitors” andcan flow between beof producers eitherproduct distributor, regarded asa“facilitator documentary ‘modesand the of by followed explainedlater representation’ on. directors, the the same of networksby studiesthem incompletingtime. their on and Germany gainingEuropean the access The St casewith itIleana was alsothe chapter, in thelast detailed production more mention AsIwill abroad. to from Romania filmmakers the capital’ of ‘social the relocated meant films the and by of BBC/Arte in the supporting of capital choice the economic transformed also a First, training the session the filmmakersboth provided with ‘cultural changecapital’ which was of attitude towards the role of the 2001: market,” access non-fiction international a uniquethe to opportunity program filmmakers offering development “aEurope-wide Campus Masterschool, Documentary 44 in film a of exploitation of license the buys that company “a be can distributor the Moreover, Finney, Alexandru Solomon, interviewed by author,the Bucharest, April 27 According to the official site, the tutorfrom BBC in 2001 was Nick Fraser (Commissioning Editor) and from Arte What isDocumentary Campus Masterschool topics were selected; afterwards you metwith series of whotutors held their courses, keep in of the importance the recalls Solomon I have conducted, interview that In the industries,the distribution.In Western also butthe changed, theproduction only Not How can we interpret thispresentation, BBC firstin and Arte, afterwardsthe decided [to co-produce theoretical the film]. companies and financing funds with the aim to assure the filmmakers an actual support. Afterframework this presents their project not just in from of the tutors, but also in front of other guests from television thatthe training, there iskind a of presentation session (my note-“pitching session”) wherewe everybody have developedproduction, distribution and two of were them the from tutors BBC and from Arte. so touch while with develop youthem far?organizers the topic; the being specialized in tutors The international…, 46 , who and deals with the selling of the film after he got the rights to do so.” There were more weeks of training over the year…[the] filmmakers proposed topics, the topics, proposed filmmakers year…[the] the over of training weeks more were There 217. , available online at http://www.documentary- at online available , , accessed May 27 21 , accessed May 27 May , accessed th , 2012. th , 2012. ă nculescu and Thomas Ciulei, both Ciulei, Thomas and nculescu th , 2012. 43 where in he participated 45 44 At the end of CEU eTD Collection Britain, 2009). 49 48 47 markets.” subsidiary and/or in thetheatrical title the exploit be to able to order exhibition of its own movies. own its of exhibition Television had its own anddocumentary department chosetoinvolve inthe production and interested in not because, Damian andbroadcastingdocumentaries, distributing as argued,the 1989,butafter none specialized in butratherdocumentaries, in importing films. Hollywood their movies available to the audience. Private companies such as by slowly stopping this practicefind andobligingmodalitiesto the directors other ofmaking by being before exhibited films. thefeature firstmajor 1989broughtthe changein theindustry, assure visibility a large to category of documentariespublic, while occupied aprivileged position film industry, apparently, distribution the notdid had the logic ofmaking profit, butrather to films was represented by the official selection at IDFA and the awards gained at other festivals. other at awardsgained IDFA andthe at selection official by the represented films was successful for analyzing thecriteria as one of study, for this akey-element represents circuit(s) film at festivals. exhibited television from (besides the companies producers) various countries and the films were also (co-) production mystudy andless ondistribution. cases, the by In distribution was taken the much focusedit too on program was that tothe addressed criticism the of one movies, although industries, not EURIMAGESparticipated in only production,the in butalso distribution the of Decree, in filmmakers, caseof the Iepan’s documentaries independent the of Dina Iordanova, Rhyna Regan, Lauren Finney, Therefore, the main distributors of the film were the television companies, but they were Theorized byDina andReganRhyne Iordanova along with a debateconcerning the topic addressed by As for director. Europeanthe Ġ iu Damian interviewed by author,the Bucharest, April 21 The international… , 217. Film Festival. Yearbook 1 – The Festival Circuit, 48 However, the National Television has the merit of broadcasting 22 st , 2012. 49 among others, the film festival Independen (St. Andrew Film Studies, Great The Children of the The Childrenof 47 Ġ a In the socialist werefounded CEU eTD Collection 52 of seashore onthe film was festival documentary acclaimed most the In festivals. Romania, Doc/Fest as such festivals important from IDFA,filmmakers.appreciation community Besides the European of of sign a represents festival the at selection official in the being and level) American an 51 50 film festivaldocumentary (comparable in with Europe acclaimed Because itisWhy such most important the role? awards. IDFA play did an the oneof of bythewinner capital economic of acquirement the also but earlier mentioned have I that letter the authorities send the to filmmakers the of initiative the justified capital cultural reason, namely the ‘cultural capital’ gained by the filmmakers after being exhibited at IDFA. The distribution.” increatingdistribution “an that‘real’ Europe, opens doors network alternative distribution to launching of independentfilms” and discovery in the role essential an play festivals] “[the first festivals: film regarding studies in theauthorship, production and theprestige author.Two main from of the resultadvantages the with effects of distribution the feature asessential role their criticsmost appreciate Nevertheless, distributionHollywood asamarketingor dedicated project by totouristscity the authorities. perspectives,such an to various as alternative The filmfestivals beapproached from could Iordanova, Iordanova, Finney, Iordanova’s vision might look optimistic, but I consider it valid for my case for one for my case for valid it I consider but optimistic, look might vision Iordanova’s proper distribution via theatrical al DVD deals for awide range of territories. opening doorsbeyond festival screeningsto inwhat a red-carpetsupport setting.lies Entering mechanisma film beyond,at a festival is seen as a way thatof to a filma string needs inof order showings to get to itsat ‘real’other lifefestivals and reach out and, to audiences later on, to The international… The Documenary Festival The Documenary or the or Film Festival Film Festival, 51 Why? “Sending a film to a festival, especially to a competitive one, is often thought of as a Edindocs , 23 p.24 ,55 (Edinburgh)fightfor aplace in the hierarchy topdocumentary the of 50 and the second, it compensates for the poor system of film from Thessaloniki, from 23 Cannes Visions duRéel forfeature films) or from Nyon, from 52 Sundance Sheffield (at CEU eTD Collection critics and filmmakers organized small festivals, with no impact on the audience production distribution,or in but also ofmodesterms of representation and topics addressed. of terms in only not distinct are which documentaries examined, be will documentaries of acouple study the During legislation. Romanian in the least at film, feature the from Non-fiction films: modes ofrepresentation flowing chapter. be inthe more detailed Thecauseswill analyzed after 1996significant documentaries. produce to able weren’t and collapse the avoid to them helped have could which capital economic into distribution and exhibition did nolonger continue, Sahia could not transform their social capital followingmostinas beforein of which thesamepractices 1989, thecontext time the the support hand,movies. apartof Ontheother budgetneededformembers the theirCNC to of against rejection successfully the fundingprotested of by CNCinthe the 2003, determining andnetworks Romanian cinematography. Usingtheir cultural and social capital, have they important. Thus, the independent filmmakersbecame Thus, independent the important. andnew andimposed where from hierarchy exhibition a was recognition abroad the the changeddrawn. networks resultof The direct entering the European the production, distribution wasdisadvantage balanced by organization the of FilmAstra Festival starting 1993atSibiu. at national level one of the few opportunities where they could present their films. This 53 festival from Târgovi important other neither wasthe Black See at Costine According to Lauren From a macro perspective, the documentary differ film industry not documentary From perspective, substantially the does a macro conclusion moving be needs to regardingBefore documentaries, ashort theory the the Ġ iu Damian, interviewed bythe author, April 21 ú ti, but soon after the Revolution, the festival was not organized anymore, as 24 ú te. 53 intermediaries In conclusion, the documentarists lost documentarists the conclusion, In st 2012; He also stated that the Association of between European the between CEU eTD Collection and their possessions etc,” possessions and their distinct rhythms of everyday life,see to the colors, shapes, and spatial relationship among people gain the sense of “to some of characters, the withlife the contact have a direct viewerto the allows cinema’) ‘direct of definition (his cinema’ ‘observational argues Nichols As conditions. lifeof the reflection anthropological an community, of Roma a contemporary an insight ‘interactive’) were rarely adopted by filmmakers from wererarely ‘interactive’) the adopted Sahia. and ‘reflexive’ the cinema’, ‘direct as (such representation opf modes other The view. of a counter-point presenting without country the from changes the about informing and authorities haveof convincing correctness the effect audienceabout the of decisions the of the resolving of end.Thistype bytheauthoritiesdocumentary, attentively controlled supposed to a solution- in audienceworking the to directly addressed a narrative rather but documentary, topic the of ismystery suspense about There noor theresult-argument. of reaching process the text forward inforward needs.” textits of the persuasive service moving dominant, textual serves asthe argument “the commentator’s of rhetoric the that mode, as illustration.images when textthe support Nichols aboutthe‘expository’ states, discussing would mode an‘expository’ call of representation, usingavoice-over narration, the while analysis. of the point at this isnecessary documentaries documentaries they would have been asked to direct. Therefore, a closer look at the theory of 55 54 the with collaborating Onemy of hypotheses claimed that the youngfilmmakers into didnot take consideration Nichols, Bill Nichols, The ‘direct cinema’ (adoptedby Budral As I mentioned earlier, the documentaries before 1989 preferred adopting what Nichols1989 preferredadopting what documentaries As Imentionedthe before earlier, Representing… Representing Reality, , 42. Video Publishing House 55 emphasizing the anthropological dimension of this mode of of this theanthropological dimension emphasizing 35 25 ă ) proposed not an investigation not ) proposed but of past, the or 54 Sahia In addition, the mode hides the viewer the because they rejected the ‘type’ of ‘type’ the rejected they because CEU eTD Collection 58 57 56 filmmaker the between encounter the to and emphasis “gives structure has atransparent topic. It thefilmmakerthe approach does how but topic addressed, the not investigating representation, of points viewbeing without obligedvalidate to one of them. opposite two present he can but another, or interview an from line one selecting for choices makes hissubjective director the post-production the is that true his audience. It with ‘together’ topic the regarding ‘learns’the details director the expressed: arguments the of of certainty for degree decreasingthe is relevant presence director’s the in footage, the present not Although from documentary. the characters with the interviews inthe director of the andparticipation the by mode,heads’ ‘talking the characterized especially was Iepan and Solomon ‘interactive’ the favorite methods of approaching anthropology. and representation. style, they could indeed show things as they are and thus collapse the boundaries between subject informal more movement’s the with and equipment portable of advent the with that, believed critical point of view when referring to it: “the direct cinema is a ‘problem’ because its exponents situations. in is useof people the undirected real cinema-verite of element essential sound…the synchronous live, and camera held “hand the of importance in front cameras.” of evolvethe what happened to it, toseeandrecord dictate than rather follow to action desire the premise authorial intervention minimum by to adopting amore causal,style observational thathad asits cinema the direct as“anattempt hand,Bruzzi tokeep representation. Onthe other portrays Bruzzi, Stephen Member, Stephen Bruzzi, Probably Probably most complex of modetype the of uses a‘reflexive’ documentary filmmakers, independent by used Romanian often the mode ofrepresentation Another New Documentary, New Documentary, Cinema-verite inAmerica 58 However the interpretations would be, the direct cinema remains one of the 74. 74. 56 In respect to the method of filming, Mamber emphasizes the emphasizes Mamber filming, of method the to respect In , Screen : 13/2 (Summer), 79-107 in Bruzzi, in 79-107 (Summer), 13/2 : 26 57 However, Bruzzi adopts a New Documentary p.75 CEU eTD Collection 60 59 subject,” and the filmmaker viewer than the and rather the documentary, butthisimplied aseries of adaptation with proposed by receipts the producers. the ‘creative’ of type certain a of creation the stimulated networks European with the contact the whose values were acquired by the young directors and transformed in cultural capital. However, hierarchy acertain creates and documentary of type a certain of value the and acknowledges explanations for the change inmode of is representation European the that industries supports documentary by than majority the filmsthe of produced beforeSahia 1989.One of the adifferent all type they modeandinteractive represent of strategies), together reflexive viewer,an the to directly addressed narrative a both uses Solomon (for example, separated be fully modes cannot While these topic. acertain with for dealing of modes representation differentdistribution, inonly materializedbut orinalso toadopt notthe production the decision of by documentaries produced Sahia, namely Impossible toadopt before 1989, the mode was used by Solomon in order todeconstruct the type The film was also the translated as Nichols, In conclusion, the support of In conclusion, supportof European fundsthe the andthetelevision companies Representing Reality, 60. The Reenactment. Reconstituirea/The Reconstruction. 27 59 most of the times in an ironic way. 60 CEU eTD Collection was assumed byfilmmaker Decebal becomeof inMitulescu the will (who CNC 2000), president Legislation and political background directors. important of the of departure the because wasbeen paid second, real and for the estate democracy. However, the studio collapsed by 2000for atleast two reasons: first because the rent revolution,hencebe not provingto just atool communistof propaganda, butauseful of element the its StudioSecond, recovered prestigeby aseries offilms to producing dedicated the financial Sahiasupport, benefiting started its from economic capital, by renting its real estate. legalthe of the end and independence; despite status its gained Sahiachanged perspective, legislative from a First, hypothesis. this factors challenged leasttwo at but trajectory, institutions. exodus of the to filmmakers other by taking advantageof its economicand itfailedcontinuesocial capital, to its dominance due to stay although to ‘trajectory’ on that, Sahiatried asserts My argument successful documentaries. produce to determinedfailure of Studio Sahia the causesthat Iwillthe chapter analyze prone to lose their privileges agentsinstitutionsargue that the and whoon politicalthe capital during dependent socialismare if they cannotinStudio toadjustorder tothe changes in film the Whileindustry. inthefirstchapter I have transform it into culturalexamining thelegislation, influence the of politicalthe changesand strategiesthe adoptedby the or social capital, in this Chapter 2: From 2: Chapter After manager Aristide Moldovan manager After the managementwas firedin Aristide Moldovan of 1988, Sahia the studio My hypothesisinitial was that Sahia failedStudio becauseitadjust not its could This chapter analyzes the evolution of the state-owned studio, Alexandru Sahia, by Alexandru Sahia Studio Sahia Alexandru 28 to Sahiafilm CEU eTD Collection http://www.jurnalul.ro/jurnalul-national/marele-ecran-in-1990-filme-putine-debuturi-intarziate-558155.htm the productionthe and the distribution of films,”Romanian and protects supports creation, cinema of guarantees freedom the “the state proclaimed that Thedecree studios. control take the the of to willing filmmakers the pressuresfrom to the Council of National Salvation Front. This decree separated the Studios from the state, responding 1990 regarding the organization of cinematographicthe activities which was issued by the by the film critic Bujor T. Râpeanu, dependent from the Ministerof Culture: one led by Lucian Pintilie and otherthe (specialized in documentaries) led 70: Dinu T 2 May 24 accessed 1 Movies Distribution of as wasreorganized financing themovies of Center economicCinematography legal and offered the and liberty Studios.the of that: heyear, stated and from In 1990, bytheyoung filmmakeran interview Copel Moscu. from same the November five film studios, givenby the Ministerof Culture, Andrei Ple 3 accessed May 2012. Interview with Copel Moscu in Decretul 80/1990 Decretul 80/1990 When claiming that the studio islonger studiofunded,When he thatthe Decree80/February notothe referred claiming would show what which isgoing on nowadays in Romania.” documentaries make isto studio our of change The huge. is documentary real for can not die, as some voices foresee. On contrary, I think it will be reborn, because the expectationnot only is thesurvivalof studio,of survival genre the aim butthe act.The the as cultural documentaryour film But ofproduction. type this for capital human the and means the have we although responsible of thequality directly and be benefit. does The audience notknow (perceive) would us asproducersof advertising, team each that so departments, creation on formula, this on reorganization with flourish only even and resist could we Financially, touristic. presentation, commercial, addresses the problem of surviving. Sahia lived very well from the commissioned movies: “RomâniaFilm”, themain company state in involved production,the distribution and the finance from the last because years, we are no longer founded studio was founded in 1950,(the communist propaganda) disappeared, butwhen we still baseon filmmakers.has It aratherold,experienced but team. Now,when rationale the whichunder this ă nase, Dan Pi th The studio isof one largestthe from in theworld,with 360 employees,whichof 70 are 2012. [“Decree 80/1990”], available online at http://www.legex.ro/Decretul-lege-80-1990-1175.aspx [“Decree 80/1990”]. firstThe major legislative change after 1989 was theprivatizationof the Ġ a, Mircea Veroiu, Sergiu Nicolaescu and Mircea Daneliuc. Ple , and became an economic and legal entity. As for Sahia, the decree the Asfor Sahia, andlegal entity. an economic , andbecame România liber Video Publishing House ă [ Free Romania Free The Department Cinema ofthe The Network and the 29 . 1 ú u in the hands of the filmmakers from the Generation ] November 23 November ] 2 mentioned the formation of the National rd , 1990, available online at ( my emphasis)my ú u founded two studios in any way, one way, in any 3 , , CEU eTD Collection 7 or due to the law, the former manager had to resign. 6 to had manager former the law, the to due or 5 2012. 1991-infiintarea-regiei-autonome-studioul-cinematografic-sahia-film-(7F357A93859B8E45).jsp 4 discussion new intothe manager brought exhibition Luiza Ciolac (1993-1995) the of the on. in importantfilms theproduction of dedicated to the Revolution,willfurther be which analyzed materialized results first of The studio? the for safeguard the awelcomed or reform propaganda but it maintainedGovernment.” it undersecretary, its influence.Moreover, the Administration Council of the Studio was appointed by the orderWas of the state this “produces documentaries, newsreelswho etc for the Department of Informationa theof Government.” means wasof being financedby the newthe regime liberty. economical chief to assure Sahia company,changed its nameby to itslegal private and Film gaining and became itsof the Departmentseemed viable. advertisinghand,maintainingbut readjustingtowards also company profilethe one on of the of Informationfund studio, but remainedthis Moscu’s Therefore, position themaincommissioner. of other customers from the country.” by the advertising ordered from thescientificnewsreel movies, Studioand documentaries, anddidactic mentions“produces that the Romanian Hotararea de Urgenta 486/1991 Icould not establish if the new law 486/1991 was adopted at the proposal of the new manager, Mircea Moldovan, Hotararea de Urgenta 486/1991 Hotararea de Urgen After the management of After themanagement of Copel Moscu (1990-1991)and Mircea Moldovan (1991-1993), stipulated that Law the 486/1991 Studio, Sahia the In regardsto 7 Therefore, the state afforded theStudiowith judicial financial independence,and Ġă the department of cinema networkmovies andthedistributionofthe departmentof 5 486/1991 Article 2broughtan innovation, stipulating that besides producingfor and Department of the cinema network and the distribution of movies the cinemanetwork of andthedistribution Department of [“Law 486/1991”]. [“Law 486/1991”]. [“Law 486/1991”], available online at http://www.cautalege.ro/hotarare-486- 4 According to the law, the Department was not obliged to was not Department law,the the to According 30 Alexandru SahiaStudio , accessed May 24 May , accessed , the Studio, the and th 6 CEU eTD Collection the former employees of Sahia until the beginning of the nineties) in order to assure a financial (1998) with Sahiasignedmanagement, acontract his Party During as managerof institution the (May 1997). Peasant National the of member Constantinescu, Mihai director appointed Government new the the remained100 with about of conclusion, whichfrom 360 employees wasalready by1995there Studio, the a decline Radu Gabrea was appointment chief of the leave. someto of directors the prompted in directly involved to become election the studio campaign,(1996). Government the supporting Democrat Party from Romania and by the fact that she was appointed in the structures of the Minister of Culture 10 9 Uă Cultural ministrului Culturii”, [“No. Decalogue The inspired by a counselor ofal Ministerthe of un consilier de Cultury”], inspirat Decalog “Nu. in Government the formed Democrats Social the when 2000 after 8 agreement, the to According basis. films.” for feature the alsohalls asaaddition Luiza Ciolac tried assure andin succeeded tomake documentaries…and adistribution to cinema in documentaries cinemahall,the asLauren Mare examined. Nevertheless, in these years important documentaries were produced, such as Hamza have I literature special successesmentionedin no(May May 1997),with the 1995 - manager on basis long.the lawfrom how andthe 1991 was Mircea who last worked of The for Information provided by one of the employees of Sahia in the discussions during the exhibition of the movies of the exhibition the during discussions the in Sahia of employees the of by one provided Information Lauren Valerian Sava accused Luiza Ciolac in 2001 that she had participated at the electoral campaign of the Social ofthe campaign electoral the at participated had she that 2001 in Ciolac Luiza accused Sava Valerian zbuna Centrul Na ú alului/The Destiny of Marshall Antonescualului/The Destiny of , Nr. 126(2002). Ġ The political change from The politicalfrom change December 1996could film notoverlook the industry. Director iu Damian, interviewed by the author, Bucharest, April 22 Ġ i / Do notrevengeus MediaPro Pictures Ġ ional alCinematografiei 9 and, independent although on paper it involved in election the (Mihai 1995) the only Constantinescu, notable exceptions. In , a powerful company, apowerful managed byAdrian private Sârbu (one of MediaPro Pictures andlaw (67/1997). anew At wasadopted Sahia Studio, Ġ Oficiul Na iu in“Immediately Damian recalls: 90, after 94-95, 8 10 However, it is not clear if she succeeded or not or clear ifshe is notit succeeded However, 31 It is still to be researched if the decision of the of decision the if be researched to is still It (Felicia Cern Ġ rented one of the buildings belonging to belonging buildings the of one rented ional alCinematografiei nd , 2012. ă ianu, 1994) and ianu, 1994) Observator which replaced which 6ă Destinul nune CEU eTD Collection Media Pro MediaPro Pictures’ debt http://www.eghid.ro/Monden/NewsDetail.aspx?NewsID=1016 Sahia”, to Marcel manager,Iura &ă Moreover, the debt acquired by the Studio reached incredible amounts incredible reached by Studio the acquired debt the Moreover, by owned rents the from amounts the recover not could leaders political new the by appointed Sahia http://www.cdep.ro/pls/legis/legis_pck.htp_act_text?idt=39124 20 11 Grigoreminutes. Florescu (2000-2002)andIoanC in 2002, lawA new wasadopted of Cinematography. Center of National becamethe president Studio the the of manager former the Mitulescu, Decebal and institution) new-formed (a Cinematography of Association of Consultative the president became Nicolaescu Sergiu cinematography. production of documentaries wasat zero end the ofyear 2000. wasre-signed. contract the but whilefinancial the for the support Studio. However, monthly pay a Thisassured amountfor of Studiothe and a wassupposedto 10,000euro. rent 15 http://www.infonews.ro/node/71311 with a dowry wanted by the suitors of the Ministerof Culture Iorgulescu, available online at 14 desert CNC-ONC-CNC”, compania – not guilty,” 12 13 “Ioan C “Ioan The amount was 14billion lei, (300,000 euro), http://www.infonews.ro/node/71311 by bride, ugly an “Sahia, Iorgulescu”, ministrului petitorii ravnesc care la cu zestre dar urata, omireasa “Sahia, si Mitulescu Decebal Nicolaescu, Sergiu Theodorescu, “Razvan Sava, Valerian in change the about More Valerian Sava, “Tablele legii siS. Nicolaescu inpustiul CNC-ONC-CNC” th rm , 2012 MediaPro Pictures MediaPro ă zan was released after another suspect business with another real estate, and a new The new Government fromThe new Government 2000 13 ă rm which, other among stipulations,limited documentary the at a maximum length of 20 ă zan isi face film in contul datoriei Media Pro Pictures”, “Ioan C “Ioan Pictures”, Pro Media datoriei contul in film face isi zan Observator Cultural ú Observator Cultural cu, wasappointed. and did not have thefinancialwork on anddidnot new to possibilities productions. , accessed May 29 May , accessed 11 The result was that, without any without The financial the resultwas that, support, , 73 (2001). 111 (2002), the Law is available at 12 th 2012 imposed ina newhierarchy theRomanian 32 , accessed May 29 May , accessed MediaPro Pictures ă rm ă zan (2003 –2004) zan , “The Laws and S. Nicolaescu in the in S.Nicolaescu and Laws “The th ă 2012 rm 15 ă , accessed May 29 May , accessed stoppedpaying rents, the zan produces a film with the with film a produces zan and, at the endof2004, the and, at 14 the managers of , accessed May accessed , th 2012 CEU eTD Collection any documentaries to be selected at Film Festivals and decreased its number of from to be atFilm Festivals itsemployees numberof and any selected decreased documentaries produce failed to Studio 1995,the rather Nevertheless,after strategy. onaplanned factors than forcapital, awhile,butmeasures taken seemed the Sahiasurvived dependmore to on external of one explanationsthe Second,by failure. fortheincomingits economicusing andsocial ideological and political affiliations. These changes affected the cohesion of the Studio according tothe wereappointed interests, managers whilethe political the according to and were want thisnot werechanged did filmmakers strategies path. the topursue The have who affected withZece minutecuclasamuncitoare/Tenminutes theworking class Ramanerea/ TheAbidance Observator cultural, acel lungmetraj care trebuia s trebuia care lungmetraj acel his featureRevolution film firstand directed interviews with the witnesses. Damian exhibited his documentaries censored before the Pa life of the Romanians that emigrated in Germany in in Germany emigrated that Romanians the of life andofficial Copel from the propaganda investigated communist the images Moscu Bucharest, directed all of them institution bythe Ministry controlled Culture,of Video House.Nevertheless, Publishing almost directed one or more documentaries immediately after the Revolution: Gladin company ProTV, while company Lauren ProTV, moved to the National Television, Florin Iepan worked for a while at the private television 16 institutions.other move Stefan Gladin Copel to abroad, chose Moscu and OvidiuBosePa Anuseful interview was conducted with Pa ú tin ă was among the first to analyzed the events from December in from December analyzed events to the first the among was In conclusion, eachpolitical changeanew brought management tothe whichStudio, may Meanwhile, important filmmakers decided to continue their careers on their own or at Sa facem totul Sa facem 319 (2006) ă / vin Let’s doeverything Let’s in while1992-1992, Iepan, for younger,directed Sahia ageneration ă ” [“All my films were exercises for the feature film that was supposed to come” to supposed was that film feature the for exercises were my films ” [“All Ġ iu Damian was appointed managerofthe newestablished iu wasappointed Damian ú tin ă by Adina Br , a documentary about the contrast between the between contrast the about documentary a , 33 Drumul cainilor ă Am aleslibertatea deanu: “Toate filmele mele au fost exerci / The RoadoftheDogs in 1995. Timisoara 89 Timisoara / We chose freedom , in a series of Ġ ii pentru , while ú tin and ă 16 CEU eTD Collection to secureastable future. benefitfrom his participation and events at the awayfrom broke being studio the Sahia, not able he could that realized Sârbu quickly earlier. mentioned byAdrian wasalready Sârbu recorded produced beforeproduced 1989.As Damian recalls 20 international-short-film-festival-oberhausen-02-07052013.html 19 17 Securitate the of chief (the Vlad Iulian the between discussion the them, of important most the probably events: the of middle in the filmmakers the caught Revolution The Communism. from histories to adjust to the market was the production of films dedicated to the Revolution or to alternatives immediately industry documentary 1989.Oneof after strategiesthe followed bytheSahia Studio system selection, of evaluation and distribution.” informal or formal of theoperation through workers, creative of goals artistic the influences [which] operate workers creative within which context social by influenced immediate the are Documentaries about the Revolution negatively it destiny Studio. the affected of the changes from stopping the descendanttrajectory 1990, 1996and 2000rather than Studio, the of wouldbeonlyalmostinconclude not anoverstatement 2employees 2001.It to the 400to that 18 Faraday, Dok Leipzig Festival International Short Film Festival Oberhausen Krakow Film Festival The first documentaries exhibited after the Revolution were the so-called were the Revolution the after exhibited documentaries The first Oberhausen which 1987-1990….For years were stopped in two-threethe the years Film Festivals at Krakow Analyzing the Soviet film industry, Faraday asserts that “all forms of cultural “all formsproduction cultural of that asserts film industry,Faraday Analyzing Soviet the Revolt…, ) and Stefan Gu ) and Stefan “For the while, the films thatwere exhibited were the censored films ofmy generation 12. 19 official website: http://www.dok-leipzig.de/home/?lang=en , and Leipzig , official website http://www.krakowfilmfestival.pl/en/ úă (the Commander of the Military Forces) from Forces)from 22 December Military the of Commander (the 20 received these films as ‘arrested’ films which presented a social , more about the festival at http://www.kurzfilmtage.de/nc/en/59th- 34 17 , accessed May 29 May , accessed This is also relevantfor the Romanian , accessed May 29 May , accessed th , 2012 , accessed May 29 May , accessed th arrested , 2012 th , 2012 nd movies 1989, 18 , CEU eTD Collection Gladin, by C such as such ‘thin film’). documentaries Therefore for or recording (video of owners equipment technical reconstruction of the Revolution, taking advantage of the fact that Sahia was among the few beyond the type of propaganda documentaries attached to Sahia.beyond attached type to the documentaries of propaganda goes Sabina Pop andnovoice-over, or write) although they barely can read becomeand actors, welcomed. Basing only on the interviews with the peasants (who are trying followto their dream because the villageApparently not offensiveideology, for Communist the censorsdecided the ban to moviethe was in the plan of plays around membersin country. prepare the theatre find andgo the to tournaments time ‘systematization’follows and the storyany of a memorytheatre band fromof theits village past Panc (Transylvania).was not BetweenFrom two hisharvests, category I will refer to one of the most acclaimed ‘arrested” documentary, Sabina Pop, awardedby Sabina festivals1991). Pop, the and atOberhausen Bordeaux (1990, trebuia sa joc Hamlet/I wastrebuia sajocHamlet/I toplayHamlet supposed http://www.trilulilu.ro/video-film/maria-tanase-povestea-cenzurata-documentar 22 7ă 25 Georgeta Rauta. -Convorbire cu 3 regizori de la studioul "Sahia" D. Mircea 24 21 23 Anexhaustive list of these films in C Popescu, Doru; Chesu, Decebal; see Mitulescu, Revolution the at ofSahia participation the about details More Lauren Sabina Pop, http://www.cncinema.abt.ro/Personalitati-Detalii.aspx?prn_ID=prn-305 Maria T nase ăWă 22 Besides the ‘arrested’ films, the filmmakers purchased in purchased recording the filmmakers films, the the‘arrested’ Besides Among them I would recall were 1986-1989, when the censorship became absolutely apocalyptic.” reality absolutely intolerable in Romania between 1982 and 1989; actually the hardestmoments Ġ De Cr linaFernoag iu Damian, interviewed by author,Bucharest,the April 21 Procesul ă , byLauren Filmele revolutiei : [interviu] /cu Decebal Mitulescu, Doru Chesu, Mircea D. Popescu, realizat de nase –Povestea cenzurata ă ciun ne-amluatra / The Trial Ġ ă iu Damian, and Mihalache, Cornel by Mircea Moldovan etc. Moldovan by Mircea / Maria T ă Intr-o zicaoricarealta lin C Ġ ia delibertate/OnChristmaswe Day gotourratio of freedom Cota zero Cota ă liman, ă nase – The censored story, The history… / Elevation zero 35 Ziua ceamaiscurt by Ovidiu BosePa , Democratia. -Anul 1, 2,nr. 29 ian. 1990. - p. 2. , 400. 25 st / , 2012 Just another day were the first to be produced and , Actiunea 7000/Action 7000 available online at , accessed May 24 May , accessed ă /The shortest day /The shortest , accessed May 20 May , accessed 21 ú tin by Copel byCopel Moscu, ă andmany others. th 23 24 by The film th and the and , 2012 Panc , ù Maria tefan by Eu CEU eTD Collection considered not guilty. moment, in the context in which the culprits from the massacres from Timisoara were judged and cinema halls in 1993, 3 years after of Vod its Eugenia hallsyears of in Film cinema production. critic after 1993,3 invited.” 1992 were of bestdocumentaries where the Costine from”] Film Festival in GreatAward Unionthe from the 1992,plus[mynote-“the ofthe Filmmakers Documentary aim. documentary’s markeddocumentaries, by the mode approach of a different to and to representation Eugenia Vod the photos shown, with no voice-over and using slow-motion, Pa slow-motion, using and voice-over no with shown, photos the filmed and the sound, but most of the time by a complete separation between the testimonies and the between juxtaposition a by Either intervention. army the during murderers the about truth the know to intention the by marked is it and Timisoara from events the of testimony witness’ documentarists of studio.the 27 documentary” 26 BosePa Ovidiu exhibited in cinemahalls.the Iwill analyze twoof productions from 1990: Damian, Eugenia Vod on screens in 90, when it wasmade, definitely the cinemahall would have full.been If it December ‘89. This lack of interest signals the moral disaster. If the movie had appeared the audience, orientation about the of interestthe other towards subject thanTimisoara- movie…Unfortunately, the empty cinemahall says lota about acertain state of mind of with a film – a special documentary, more precious that the others- as just another Damian mentions “was Neubrandenburg film awarded the that and won Awardat of the The former, dedicated to the memory of the Revolutionists from Timisoara, presents the from memory Timisoara, to the dedicated of The former, Revolutionists the Despre… ], (Bucharest: Editura Tehnic ă ă in Lauren noticed, “the will of noticed,“the will style,” of “What does it mean to have an uninspired screening, or just apathy, which deals which apathy, just or screening, uninspired an have to mean it does “What ú tin 203. ă and Ġ iu Damian, Jurnalul liber ú ti. The documentary was selected at the Grand Gala from from Tokyo, GrandGala the at wasselected documentary The ti. Despre documentar...siinca ceva in plus ă , 2003),, 203. / The free newsreel The free 26 and differentiates significantly from propagandathe 36 27 However, the movie was screened in the with footage recorded with footage by almost all the ú tin [“ ă Something extra on ’s movie has, as film critic film as has, movie ’s Timisoara 89 ă recalls recalls this by CEU eTD Collection video tapes.Asfilm C critic of diffusion the companies, televisions the with competition the as such challenges, the with matter how far away would go, one will never reach somewhere else than its own self.” from “Nowho openingquote representsthe Nietzsche leit-motif the isof astronaut an movie the while shooting, the of victims the with interviews revolutionaries, the by ‘capturing’ its and villa images presents of in destruction churches footage the 1990. The Bucharest, of Ceausescu’s of 29 movies. see the can she that the cinema hall minum 15 persons were obliged to enter. As there were only 2, she was obliged to buy 14 tickets so Com 28 and documentary. reportage newsreel,between TV at theborder film isset the in English, narrated audience: foreign the to Revolution the from aspects show to order in opinion. important features of of findbut most critic one the the reasonsbehindthedelay, mentioned not the I could out the documentary, namely to deal with issues that can change the public Damian, Eugenia Vod ă nescu made an nescu made an version extended shown, thatis anotherBut the problem.documentary filmremained connected during 1990 to the After the initial momentof enthusiasm, production the notandkeep up distribution did it appeared in 1993, in a context of skepticism and reluctance.” had appeared in 91, when the people still hoped, itwould have been something else. But From the footage that this 30 minute documentary was produced, director director documentary thatthisminute was produced, 30 From footage the helpless atthe burning museums. breathed at the same withtime movie,the flinched atthe clatter ofthe machineguns andwatched “released from nightmare”the who and took after somany years “the ratio of liberty”. Thehall It did not have aesthetic values.But ithad life and drama and wasmade by some individuals cinema hall had a spectacular press conference. It was not a masterpiece of the documentary Studio film. ofthe Awaited“Beginning theEnd.” Festivalat the fromBerlin from 1990 by a full filmmakers and operators work of the a collective actually was The second documentary Despre…, ă in Damian “Sahia in year produced,firstafter the theRevolution, 65films. were very That few The Free Newsreel Free The 199. Despre..., ă lin C 203. In the same article she mentions that, forthe screening of the movie, in , namely , namely RomanianThe Revolution from for1989 represented Sahia ă limanin remarked 2000: 29 Desprinderea 37 / Breaking away 28 that was shown at the end ù erban CEU eTD Collection http://www.scribd.com/doc/46143440/In-Slujba-Presedintelui explanation of the failure naming three factors that led to the collapse from of exodus 2000: the led from collapse the that factors to naming three failure explanation the of production and distribution,” monopoly film mainly the from of “withdrawal state factors, on the the macro-economic the intention. institutional an or individual an represented determine Revolution the 1989about after isif thedocumentaries produced hardto itTherefore, but1989), thisnot beall could said about filmmakersthe from of structures the Studio. the at this point. is Indeed, there noinstitutiondoubt the that was politicized before (andevenafter stayinginbetween institutions thetrajectory. thesplit Second, individualsis necessary and again available online at http://www.kinokultura.com/specials/6/bradeanu.shtml 31 experiment (as in the case of Damian or Pa or in of Damian (as case the experiment ready to whoare filmmakers of generation a new between thetensions shows afterwards 33 32 30 and Tu Pantelie Virgil Calotescu Aristide Moldovan, managers by never the contested which were documentaries propaganda the studioof asCommunistParty. Besides andthe judged thepropaganda underestimated only Pantelie Tu Pantelie Br Br C ă ă ă liman, deanu, “Death” and documentary…. and “Death” deanu, 2007, June Romania”, Post-communist in Practice Film and Memory documentary: and “Death” deanu, Analyzing the cause of the collapse of the Sahia Studio, Adina Br Adina Studio, Sahia the of thecollapse of cause the Analyzing However, it issure whoit death However, ‘prepared’that Damian of Studio. not the offered another to move forward in the hope of abetter and allegedly clearer (political) identity. a on ‘die’ to had discursiveSahia and symbolic level inorder film toallow communitythe to separate from the past and charged…ultimately, negatively became itself, practice documentary of However, these evaluations should be qualified. First, the Sahia Studio should not be shouldnot theSahiaFirst, Studio be qualified. shouldevaluations However, these level the at of its single documentary, specialized studio Romanian gotthe its ‘ratio of liberty’ and of liberty”, kept silenced.”ratio our got we Christmas “On of the title the documentary Paraphrasing then? But afterwards. two or year one maybe and reality”, “hot Istoria…, Ġ uleasa, Once 1989 was over, the memory Once1989wasof community, of extension, over,the Sahia, itsattached by and, In sluja Pre sluja In 400 ú edintelui 32 but also on the negative memory of Sahia in post-communism: Ġ uleasa [“Serving the President”], available online at online available President”], the [“Serving 31 , the quick reaction in the first days of Revolution and Revolution of days first in the reaction quick , the ú tin 38 ă ) and an old one who searches for a strategy of astrategy for searches who one ) andanold , accessed May 24 May , accessed , accessed Feb 17 , accessed th , 2012. ă 30 deanu focuses first on first focuses deanu th 2012. 33 CEU eTD Collection available online http://docuart.ro/documentare/strigat-in-timpan Chronicles from Chronicles from Zurich”] (1996)wereexperimental video documentaries. The authorities but gone in exile”], 37 http://www.eghid.ro/Actualitatea/NewsDetail.aspx?NewsID=551 40 39 36 35 Art Foundation both for the people who worked there and for its technical equipment. histhat after firstchoice graduation from University the andCinema Drama of Visual was the in comparison with the televisions which were more opened to use the video. Solomon explained changeSahia didnot its technology, preferring thinfilm slowed the which down production the 38 perspective. Iepan’s challenge to direction this in study any encounter concerning the distribution of films by video tapes and its impact on the Romanian market. Unfortunately,romaneasca-24/florin-iepan-6060 Idid not 34 film his first consequence, direct compromised. was documentary Romanian years, the few a In a documentary. ‘directed’ a camera of caritas “asort after 1989, that, claims more used.Iepan becamemore and which camera ‘recording such astheV.C.Rand changes by technological the can beexplained which Studio the of collapse causeof the another proved bemanagerstate anincompetentto investors.” tothe private compared of Sahia in1990and whoconsideredpresident of CNC in 2000-2004) that, caseof the ‘the Sahia filmmakers to draw back. The third explanation belongs Decebalto Mitulescu (a former manager involveinlifemoments 1998 asreference the anddetermined when the political Studio the “depository of the political events.” a became theStudio factthat the andto strategy) lack a coherent the to of (due filmmakers Florin Iepan, “Documentarul romanesc nu a murit, dar a plecat in exil,” in plecat a dar amurit, nu romanesc “Documentarul Iepan, Florin Alexandru Solomon, Radu Igaszag, Radu Solomon, Alexandru Alexandru Solomon, interviewed by author,the April 26 the to Reference Alexandru Solomon, interviewed by author,the April 26 Damian, interview by the author, Bucharest, April 21 Actorii lor Finally, director Florin Iepan (an employee at Sahia until 1996) brings into Florindiscussion Finally,brings employeedirector until atSahia Iepan 1996) (an ú i caii nostri 37 Iepan addresses one issue that was also mentionedissue Iepan thatwas also bySolomon addresses one Caritas Formula As [ institution in Romania which promised high profit with little investment. Their actors and our horses-About co-productions , Nr, 670(2005), available online at http://www.formula-as.ro/2005/670/lumea- , accessed May 29 May , accessed Strigat in timpan 36 of the documentary movie was created: any amateur whogot anyamateur created: movie of was documentary the Strig 34 Mentioning this lastpoint, Damian recalls years the 1996- ă t intimpan th , 2012., Iepan raisesan important,but less research issue, / st Scream in ear drum , 2012. , 39 th th , 2012. , 2012. 40 , accessed May 31 May , accessed , 2005,, accessed May 29 (1993) and [“The Romanian documentary is not dead, not is documentary Romanian [“The , produced by ], available online at Cronica delaZurich st , 2012. th Fundatia ArteVizuale 2012. 35 38 , namely that namely , 39 [“The As a , CEU eTD Collection less financial support. National which documentariesthe forTelevision took reportage with have been could produced the from producers the documentaries, the of understandings different the with connection supported. In not and were wereneglected studios outside television the produced documentaries the reportage, inthe As the departments hadtheir specialized of production companies television reasons. economic for documentaries than rather movies Hollywood show to inclined more much distributors from the and from audience the interest lack of because of the companies television an came in end to 1995.Theresponsibility of belonged theexhibiting filmstothe nowtothe inscreen continuedin 1990-1991to documentaries cinemahalls.the this practice However, renamed in1990 Distribution and audience itschanging ‘negative memory’ as machine for political propaganda the power. its forcontinuation guarantee successful and and preventits‘symbolic documentaries death’ in its capital transferring theof impossibility capitalismits dueto to adjust trajectory could not studio The Sahiafilm. careers outside their continued filmmakers the capital: cultural of exodus participation and the campaign).Instead election of securingit afinancialbasis, the aggravated another type of income. Neither did with the social capital (transformed in political capital by the MediaPro Pictures to take advantage of itswhich Solomon collaborated at his firsteconomic film), while Sahia continued using the thin film. (with Publishingvideo totheVideo House of andthe practice using competences the transferred capital, due to the problems in receiving the rent from As I mention earlier, the problem of distribution was in the hands of hands the in was distribution of problem the earlier, mention I As failed far,in the longSahia run, so approach discussed within theoretical the Interpreted the departmentthe cinema of network and thedistributionmovies of . In addition, it could not screen its films in the cinema halls in order to assure 40 Romaniafilm , which , CEU eTD Collection it must be informed where they could find it. Sfântul Gheorghe –Covasna, or the anthropologic from Sibiu). As I said, this audience seeks documentary (organizedfilm. But incinemascreening hallsspecial ofor cultural film de gale institutes…) the at it seek or at and festivals genre as (some and of love documentaries them who of specialized values the – as students) the oneappreciate from pupils, especially youth, (mainly cinephil public, a minor ofpublic, kind another about speak we finally, And, […] documentaries avoids it now consequence, a As TV. the or invaded […] halls cinema in screened intellectuals, still intoxicated by documentaries (most of them propaganda movies) that,during communism, were something moreaudience educated, isan There but still movies. refractory adventure and to documentary:comedies it was opera, formed from soap of elderpersons, audience the is most It of the times adrenaline. his or raise laugh the first category, movie means justescape an from daily life,adventure an and entertainment. Itwants to cry, to http://arhiva.dilemaveche.ro/index.php?nr=188&cmd=articol&id=6577 43 at a national level way ahead of film soapwas shown at the National Television and hand aratingoperas of 7.2%, situating on the third place of other TV serials. of audience the to referring He contendshand, other that the On festivals. at therefilms the seek who audience young wasa third, and a genre the avoids documentaries in cinemahallsthe before 1989,whoconsidered the genre aspropaganda and andentertainment,” adventure life, an from daily 42 41 audience.” their possible for hours inappropriate and tofilltheempty attotally documentaries “broadcasted slots program exhibitionthe in cinema halls. other the On hand, television the companies used the encourage medium)and not film does (short length of the the that asserting thegenre, ‘exploit’ “majority who – a there First in majorit categories. three divided and of documentaries, audience Romanian that documentary the infrom benefited an organized distribution Romania.” Costine filmfestivalsthe in Romania: “thefestivalswe had before that 1990 function not did anymore. Viorica Bucur, “Nev Bucur, Viorica Lauren Viorica Bucur, “Nev In an article from 2007, Viorica Bucur analyzed the reasons the distributors failed to In strong connection with the distribution and exhibition, the same critic examined the ú Ġ iu Damian, interview by the author, Bucharest April 21 ti was over. There were other festivals as well of ranked B, C category. I can hardly say ab initio ă ă zut, Necunoscut!”zut, [“Unseen, unknown”], zut, Necunoscut!” [“Unseen, unknown”], [“Unseen, Necunoscut!” zut, 41 Duringeven thenineties, the documentaries becould not at exhibited – dismisses the documentary - for them, movie means just anescape means movie for them, - documentary the – dismisses The Great Communist Bank Robbery, Great CommunistBank 41 43 second, there is an audience that watches the watches is that anaudience there second, st Dilema Veche , 2012. Dilema Veche , accessed May 29 May , accessed , 188 (2007), available online at online available (2007), 188 , , 188 (2007) More detailed:“For Solomon mentioned that the that mentioned Solomon th , 2012. 42 CEU eTD Collection (2007),online at http://www.romaniaculturala.ro/articol.php?cod=5043 44 adjust by to the conditions of capitalism through renting its locations to the newly formed from andHowever,the funding attempt variety sources. 1998 to the mobility directors of of by model from follow anevolutionary dominated a certain interest public and the can to the adjust to changesthe in way a ‘path-dependent’ that and proved documentariesthe can respond in the followingyears. Contrary myto expectations, the Studiodemonstrated itthat did not a certain befollowed strategy the to adapting couldn’t ‘demand’ of Revolution, public, the thus aboutthe years in audiencefilms Studio succeeded 1989,the the in presenting thefirst after Although nottomention Festivals.succeeded European market, national the on the andnot did documentaries decreased itsproduction of Sahia Studio of DepartmentPublic Information, the Conclusions seen andappreciated. who was responsible with to thelackin ofstrategy with company Combined distribution. state-owned the declinethe of the exhibition alsobut of propaganda, inagenreconsidered interestof audience the lackof to the 1989 dueboth the films, the documentaries had little as a failureroom to collaborate successfully with the televisionto companies. be Sahia of collapse the explain can we television, the to is connected which but documentaries of eighties” from the ones pathetic the as “not documentaries, good by attracted be can which Geographic National and audience in good for channelspublic interested as which provides such documentaries Discovery Alexandru Solomon, “Reflextul capitalismului salbatic”, [“The reflex of savage capitalism”] Evolving from independentbutfrom highly Evolvingon a state-owned studio company, a dependent to In conclusion, the ‘circle’of production – distribution – audience has hardly worked after 44 If we agree with Solomon that there was (at least in 2004) an audience 42 , accessed May 31 May , accessed st , 2012. , Dilema Veche, Dilema 188 CEU eTD Collection impossibility of transferring its social (political) and economic capital in cultural capital. The capital. cultural memory in of the institution capital was still connected with economic the Communistand propaganda. (political) social its transferring of impossibility inmarking for autonomy,the search by their directors of determined departure the skilful cause important was Probably most milieu. documentary the competitive intheEuropean even filmsnot fully in toproduce failed paid, Studio become thatwould2004. Sahia really MediaPro Pictures Company proved to be a failure on the long-run, as the rents have not been not have rents the as long-run, the on failure be a to proved Company 43 CEU eTD Collection support. financial as and samefeatures of interms otherdocumentaries the distribution the production, director and producer Thomas Ciulei Thomas andproducer director film the namely added, be can name important one least at filmmakers of selection subjective First Appearance Award St ariciului/The CursetheHedgehog ariciului/The of 5 6 3 2 Solomon) documentaries international afresh and acclaims breath inindustry. announced theRomanian documentary The 2004. The official selection by of directed documentaries Romanianthe filmmakers received http://fa.osaarchivum.org/filmlibrary/browse/director?starting=B&val=80379 4 71c3a06732ca 7 Comunist--The-Great-Communist-Bank-Robbery- festival in Europe. More details about the festival at http://www.idfa.nl/industry.aspx 1 (IDFA) Amsterdam” Film Festival Documentary the“International moment representative as Ichose a awards. important winning of the and festivals international numerous at selections whofilmmakers succeeded in scenein European markedby the triumphs official 2004, the Background filmmakers and companies Independent 3: Chapter IDFA is often named as “Cannes of the Documentaries”, representing the most prestigious documentary film documentary prestigious most the representing Documentaries”, of the “Cannes as named often is IDFA th The Bridge, Europolis, The Children of theDecree, The Great Communist Bank Robbery, The Curse of Hedgehog, , 2012. , ă nculescu) The present chapter investigates the post-socialist trajectory followedby trajectory documentary investigatesthe thepost-socialist The presentchapter , available online at http://www.trilulilu.ro/video-cultura/asta-e-documentar 2 available online at http://www.idfa.nl/industry/tags/project.aspx?id=d33c482b-fe4f-4c82-9a25- , accessed May 7 May , accessed Nascu 5 herald a new turnaround in the Romanian cinema. Moreover, the latter won the won latter the Moreover, cinema. Romanian in the turnaround new a herald Marele JafComunist/TheGreatCommunistBankRobbery Ġ i lacomand available at the Open Society Archives film archive available online at http://www.youtube.com/watch?v=3w9p7ck3lbY , for the best debut, fordebut, four thebestjury. awards of one offered bythethe , this To th , 2012. ă available online at http://www.cultureunplugged.com/play/3163/Marele-Jaf- : Decre 6 , whose documentary , whose from documentary 2001 Ġ eii/Children oftheDecree eii/Children , accessed on May, 7 (Dumitru Budral 44 th ă 2012. ), 4 and , accessed May, 7 (Florin Iepan) (Florin Podul/The Bridge , accessed May 7 May , accessed Astae/Europolis , accessed May 7 May , accessed th , 2012. , accessed May, accessed , , th 3 (Alexandru th , 2012. Blestemul , 2012. (Ileana 1 shares from CEU eTD Collection the state funded institutions, I will present how the documentary developedfilmmakers their documentary the how Iwill present statefundedthe institutions, industry will remain a recurrent question during the course of the analysis. a parallel of levelin development national the anda European at changes socioeconomic the complete separation from a inevitable and, therefore, institutions seemed cooperation Romanian the However, the with them would have been impossible. growingthe interest of European the institutions in Romanianthe industry.documentary How essential was the impact of 8 After1998 was acquired by 7 Foundation. He explains the reasons of not collaborating with Sahia or Video Publishing House: financial basis, butsimultaneously individualdeveloped by supported projects Visual Arts socialist realities. For than a cultural autonomy and embarked adaptation upon the newto the requirements of example, post- the Solomon continued to work at feature filmsdealinginmode withdifferent what they practicing understood consisted documentary work of. in order to have a by the state institutionsengage did one hand, with the directors promoted twofold:not on of type the the documentaries (in the startcase of Iepanprivate or to choice andby their studios documentary engage state-financed the with to refusal directors’ Solomon), companies and aspired in fororder the autonomy to fulfill of their aims. The reasons behind the rejection are Alexandru Solomon, interviewed by author,the April 27 Buftea was the town nearby Bucharest where all the feature film Studios were located main (feature) film Studio. Following the logic of the previous chapter, where I analyzed the changes that marked to appeal in companies the private and foundingmaterializedof inthe This adaptation I will arguein chapter thethat this success ofthese by films was determined the On the other hand, they gradually understood that, in order to do so, they needed more needed they so, do to in order that, understood gradually they hand, other the On between 9.00 and 18.00. borrow from Sahia’sexperience with anorganized plan… documentaries can not be directed to hire asstate-owned structure to produce afterplan a seemed to be something outemployee of date…I didn’t want at Sahia or at Buftea; I considered somethingSahia as belonging to the past and couldn’t goon A anymore. MediaPro Pictures. 8 45 th 7 , 2012. In addition, the Video Publishing House tried to tried House Publishing Video the Inaddition, CEU eTD Collection foreign televisions, I had a reflex to myfilmsimportant financialof are fact the that make the supporters and production to “Duereasons to a show out of documentaries. This makesSolomon it far from added at the wasacompromise.” nowadays followedend until that Everything “at Iwasfree. time that because of the interview (without me asking any kind of explanation) that: added that“theloved film I that themost was“Hotel Ci recipes that restrict the liberty of expression and thebecause offinancial The support. extensive number of originalityimposestelevisions […] certain film of the directors.” is “thethe on mainly emphasizes and this happens documentary television dependent that in framework hadnamely, a problem,movies. directtheirwhich Iepan certain they to dominated itfinance(CNC) to their productions. decisive role the hierarchy inquestioning film industry,of the that theinstitutions and forced or by studying at German Universities (Ciulei and St 10 http://www.fishingtonpost.ro/2012/03/13012-invitatul-saptamanii-florin-iepan/#.T8ZdQtWiPmI http://www.romaniaculturala.ro/articol.php?cod=7029 9 documentary, the about specific stipulation there no Although in legislation. achange without the asthe such institutions European the from credentials education the they received after capital cultural by of accumulation an determined European and their companies.successprograms from concludetelevision Iwill 2004was that the to later, and companies state-owned the and them between relation was what and projects 11 2012. FlorinIepan, dialogue with Mihai Fulger,“Cultura”, in 48 (2006), available online at Florin Iepan, interview for interview Iepan, Florin Solomon, interviewed by the author, Bucharest, April 27 Cinéma vérité However, there is also a series of disadvantages: both Iepan and Solomon signaled a signaled Solomon Iepan and both of series disadvantages: is alsoa there However, Nevertheless, the contact with the European Programs could not have been possible been have not could Programs European the with contact the Nevertheless, practiced by these great names.”by great practiced these Fishington Post , March 2012, available online at online available 2012, March , Discovery Campus MasterSchoolDiscovery , accessed May 8 May , accessed 46 th , 2012. 11 ă nculescu). The cultural capital played a ú migiu,” during (his project hisstudies) th , 2012. (Iepan, Solomon) (Iepan, , accessed May 30 May , accessed 9 In addition he addition In th 10 , CEU eTD Collection 14 13 qezvm/ 12 of producers more than 20min) and longer one for the film festivals. Moreover, Tudor Giugiu, one of the co- lastnot should documentaries the lawthat the version stipulated (because versions: ashorter two Exile Painea exilului/TheBreadof hisfilm mentioned Solomon heproduced Alexandru (Law630/2002). re-organized thecinema and renamed by CNC and Sergiu Nicolaescu (the new head of the CNC) issued anew law which by managerfilmmakerelaborated of RaduGabrea, the The law 67/1997 issued backgroundwas on of politicalthe change from 1996, and it was European Union as well– EURIMAGES, tootherinternationalas institutions and programs.” specializedthe the of Romania programs of to affiliation indays…to the 90 Finance act will European integration, them” on dependent institutions ONC together made inthe establishedby programs CouncilEuropeanthe of Commission Europe, withand the the Minister productions the withof exception the main characters, and music, producers staging, for script, of Foreign Affairsside has toparticipate with least51% from at budgetthe of film,includingthe without costs the and the Ministry EURIMAGESof Program. Thus, article 28 (c)stipulated that “as for co-productions, the Romanian participate atco-productions andmentioned for first the of time theimportance theconnecting to can law Romanian underwhich the the producers conditions from the 1997 established should not last more than 20 min.” films that the with genre this who assimilated law of the Nicolaescu of cinema the period over TudorGiurgiu, “Prin Oglinda” [“Through themirror”], Law 67/October24 Law 67/October24 , accessed May 30 May , accessed The political change in 2000 announced a new management: ONCwasreorganized newthe in management: a 2000announced The political change The GreatCommunist BankRobbery th th , 1997. , 1997, available online at http://www.jurisprudenta.com/lege/ordonanta-urgenta-67-1997- th , 2012. 12 , (2002) with the partial funding of the CNC and had to makehadwith to , (2002) CNCand partial funding the the of 14 , while the (last) article stipulated that “with the aim of However, the law had some positive aspects, mentioned by aspects, positive had some law However,the 47 Dilema Veche mentioned that “we are lucky that we gone we that lucky are “we that mentioned The NationalOffice of Cinematography , 188(2007). . 13 CEU eTD Collection initiatives have incommon disappointmentprogramsthe with institutions, state the such or as by All it supported these authorities. the befinancially butwouldDesk (later) program, MEDIA the from especially funds, European from came support important An documentary. Central and Eastern Europe. Moreover, the Europe. Eastern and Central Production in 1999, while Solomon (whoproduced his films asVisual Foundation)Arts HI-FILM grounded 17 16 (AFF) SIBIU FILMASTRA FESTIVAL the mention regards special a companies, films. these Besides feature Moraru. film, and by led Dr specialized indocumentaries animation Vivi moviesdocumentary and the ArtFoundation” “Visual in (set only 1992), the company 18 15 own companies: Florin Iepan established led the way,by the end of the first post-communist decade, to the directors’ choice tofound their Nicolae filmdirector company M of the wereAGERFILM; Thefew exceptions in feature films than documentaries. rather interested companies. Reacting to companies socialthe thefirstchanges, developedmainly after 1989were the moment when you won the CNC contest.” in sources alternative of series access a you to allows which cinema of law new of the enactment financing has this movie from CNC –which from only 120 000Euros 400.000 –was the Ada luck of in wife“our Solomon great film):(Solomon’s producer the wehad and that Official website http://www.hifilm.ro/2010. in Ujica by Andrei directed Ceausescu”, of Nicolae Autobiography “The produced also have They More details on http://www.astrafilm.ro/despre-aff.aspx servicii” facem timp “Intre Solomon, Ada It is legitimate to ask at this point what was the trajectory followed by the first private 16 But they Butthey satisfycould not demandof the the eager directors to start newThis projects. 17 in 2000s,in early the only not specialized but documentaries advertising also or 18 , a film festival organized from toanthropological film from , afilm dedicated from festival 1993 organized . [“Meanwhile, we produce services”], weproduce [“Meanwhile, ă rgineanu (set in 1991) which produced both feature and both in1991)whichproduced (set rgineanu Subcultura Visual AnthropologyFoundation 15 48 . in 1997, Thomas Ciulei founded Dilema Veche ă gan gan Velvet Vasile and produced Budral , 320(2010). Europolis ă ’s CEU eTD Collection Caragiale (self-exiled in Berlin in 1906). from received support ONC and produced Fundatia Arte Vizuale. Bergman, Zurich Duo pentruPaoloncel Paoloncel siPetronom/Duo andPetronom for a couple of movies to the Romanian movies avant-garde: the to a couple of collaborating with for VideoPublishingthe producing House film anexperimental and dedicated directors’the previous films. his Solomon started career in in documentaries 1991 with by Screening for Amsterdam: The directors and their films before from protests the 2002-2004. CNC atthe even for grants and applied television national atthe moviesfeature or parallel at in worked directors the of institutions.Some from state the separation acomplete speak about not can we Nonetheless, funding. the accessing in difficulty the or institution governmental the law that limited the length on the documentary, the transformation of Sahia into a and directed before 2004 before and directed Pictures AVRO,in association with ARTE, YLE, ORF and the National Television, supported by Media Decree Weissmuller, the world class swimmer and the actor who played Tarzan. / The Chronicle from Zurich The Chroniclefrom The documentaries taken into consideration for analysis can not be easily separated from separated be easily not for analysis can consideration into taken The documentaries was produced by wasproduced WESTEND FILMPRODUKTION incoproduction & ZDF, TV with Florin Iepan started his career at Sahia, moved to the private television private to the moved Sahia, at hiscareer started Florin Iepan in 1996 and worked at the National Television. Meanwhile he founded Meanwhile he atthe National worked in1996and Television. Omul cu o mie deochi cu omie Omul In 2002, while working at In2002,while working The One, the Only, the RealTarzan the the Only, The One, / The man with one thousand eyes one The manwith (1996) and to a Romanian Jewish photographer Josif The BreadofExile 49 Strigat intimpan The Great Communist BankRobbery, , a documentary about Johnny most of most by of them the produced / about Romanian playwright Romanian about Shout intheeardrum (1994), The Childrenthe of Cronica dela SubCultura MediaPro (1993), he , CEU eTD Collection documentarul-ca-autoportret/ 20 19 due to the changesin the social structures: “I found characters for these figures, but, when I went liberal.”the capitalist, the unemployed, the 1989: after appeared that classes social new the analyze “to were movie the of intentions Europolis Thomas Ciuleiis inevitable, chronological especially due to in reasons. Released 2001, Intentions and Production symbolic event rather than a surprising rupture in the career of the directors. the Hedgehog. The Curse of in emigrated 1988. Before and 1965) Cannes filmcritic, awardedat Ciulei (renowned director Liviu wherehis father, and produced hisand previous produced documentary exception from was Budral this Dumitru group with documentary the networks from andEurope managed tofindfinance herfirstfilm. only The in herSimilar, Ileana completing St studies Germany, a ‘werewolf’ about a Romanian from and one about Transylvania Lena Constante (1997). actress with project with the Plus and Hessen Invest Film. Interview with Ciulei, More details about the film at http://www.westendtv.com/42.0.html?&L=1 With the intention of finding a beginning of the “Amsterdam moment” a moment” to reference finding “Amsterdam of a beginning the With intention of the York New and (Munchen) Germany in studies his he completed Ciulei, Thomas for As represents one of the first materialized projects of the private companies. The initial companies. The of private the materializedprojects first the oneof represents The children ofThe children thedecree. Mihai Fulger’s blog, , accessed May 9 May , accessed Europolis, Therefore, the “Amsterdam moment” could be understood asa couldmoment” “Amsterdam be the Therefore, understood 19 He participated at Discovery Campus Master School School in Heparticipated atDiscovery Campus Master 2001 (2005) http://mihaifulger.wordpress.com/2011/07/01/thomas-ciulei- th , 2012. Thomas Ciulei directed Ciulei Thomas 20 But the intentions of the movie were quickly shifted, quickly movie the were of intentions Butthe La drum 50 ă did not gain its did not educational abroad credentials (On the road, 1997) in conditions similar to ă nculescu established strong connection strong established nculescu . Gratian (1995), adocumentary (1995), CEU eTD Collection documentarul-ca-autoportret/ 25 documentarul-ca-autoportret/ 24 23 Delta. the in life the for representative huge bird, a metaphorwhich symbolizes the stressing of the “reality” of the connectionand the functionof As forposterthe ofimage film, the as the connectionbetween nature and human is by Delta. made younga proud Danube man holding a ofthe image “real” the to reference also a but destiny, tough the with conciliation and nature of laws 22 documentarul-ca-autoportret/ 21 financial of CNCandtheprivatethe support companiesof intended Solomon’s distribution. to (partial) the companies, televisions and programs between European cooperation the the sound technicians specializedin documentaries.” a co-production) “tendIn addition, Ciulei mentions that “the salaries are very low”, the crew fromto televisions (in case workof eight hours/per day”, and “there are no camera operators and Delta. to film them, the unemployed got a job, the capitalist went bankrupt.” Romanian documentary film Romanian documentary producer: explained the National Cinematography the of Office reason for doing so. His answer of generation concept the moved to represents a matter-of-fact condition of the Interview with Ciulei, Interview with Ciulei, Established 1997,in ONC the changed its name in CNC in 2001. The title of the movie refers to one of the last lines of the main character, Interview witha Ciulei,mixture of surviving according to the Solomon’s their backpack which represents all their office. This is not my job, but I am forced to do named in it.” German „rucksack –producers” ( own production companies: to funding accessworking and a film likealone. me Producers are particular; actually this is aproblem aworldwidethat level. iswhy That the directorsmake their problem. in Romania there no everlasting are producers, in an general,is and no producersThis ofdocumentary films, in problems. production with of time lot a I spend producer, a having director,because if I dedicate to the production, Ican’tmake my own films. Even bynotso, don’t know if by The filmwas co-produced Ciulei’scompany own ( “I created my own production company in 1999, mainly to produce my own movies. I The Great Communist BankRobbery The GreatCommunist Mihai Fulger’s blog, Mihai Fulger’s blog, Mihai Fulger’s blog, Europolis , accessed May 9 May , accessed 9 May , accessed 9 May , accessed will ever produce anything more thanmy movies and ofother few 22 (2005) http://mihaifulger.wordpress.com/2011/07/01/thomas-ciulei- (2005) http://mihaifulger.wordpress.com/2011/07/01/thomas-ciulei- (2005) http://mihaifulger.wordpress.com/2011/07/01/thomas-ciulei- , depicting three generations of inhabitants of the Danube the of inhabitants of generations three depicting , th th th , 2012. , 2012. , 2012. 23 . In an interview with film critic Mihai Fulger, Ciulei Fulger, Mihai critic film with interview an In . Rucksackproduzenten 51 25 represents one of the best examples of examples best the of one represents Europolis ), because carry they a laptop in ), together with ZDF and ZDF with together ), 21 In idea this case,the 24 CEU eTD Collection Robbery”] 27 “The Robbery…” period before pitching their ideasnine-month to intensive commissioners”,an over Europe across http://www.documentary-campus.com/v2/page/masterschool/ 4 workshops at documentaries their develop teams producer/director unique opportunity to access the international non-fiction market. It is a tailored program inwhich 15 European 29 Serban/RPR-face-ordine-Marele-jaf-comunist.html 26 but therejected lobbyafter funding it,foreign project of the the decision was of the producers, Giurgiu (from Libra Film) Initially, the for project. sustained National Centre the Cinema Romanianthe thetelevisions engage didProducers: not it, with only privateproducer the Tudor D’ici”, (aFrench company) and France2.The film was not considered worthy of financing by televisions, Arte and BBC, showed their interest in producingin 2001 a workshop at was majorparticipation by step the represented the film, as well as “Les Films image”. film against sort “image of “weapons” made –a the History,of with the intelligent movies (documentaries films)and feature ever madein Romania; investigationan of documentary depends on perspectivethe which andthesources are used. every objectivity, for claim despite the that, acknowledgement and the documentary of a product Communistthe propaganda. This discourse the ledSolomon role about the to of anotherdocumentary deconstruct to documentary tries the other, the On action. an such motivation robbers’ the finding of attempt in the other, each with events the at participated who characters the and witnesses the confront and Bank National intobringpublic un-known namelyinhappened event discussion one 1959, robbery the of 28 major Following two this, endthe sell could one where project. pitchingat the session School.” Master Alex Leo According to its official site, “The Masterschool is a Europe-wide development program offering filmmakers a http://www.alexandrusolomon.ro/ The Reenactment Produced in almost four years, Solomon’s film was considered “one of the most ofthe “one considered film years,was fourin Solomon’s almost Produced Atelier Liternet, ù erban, “RPR face ordine – Marele Jaf communist”, [RPR makes order – The Great Communist , (Virgil Calotescu, Sahia Studio, 1959). 29 started started to materialize when synopsisbut inaugust2000, wasready,a first the Solomon Solomon theimportanceunderlined of training,the especiallybecause of the (October2005), available online at http://agenda.liternet.ro/articol/2123/Alex-Leo- , accessed on Feb 6 on , accessed , accessed May May 11 , accessed th , 2012. , 52 26 produced immediately after the robbery, the after immediately produced th 2012. 28 at “Discovery Campus 27 The project of . CEU eTD Collection documentary, stylistically completely different fromI did sofar” what different completely stylistically documentary, is “mainstream a this that Iepan confessed Blaga, Iulia with interview avoid In an abortion. to the in order took they measures the and abortion an have to wanted who women the of condition the of reconstruction adramatic of causes, the explanation acoherent thefilmassures of narration decree. With “talking-heads” ina set-upand of a technique staged afemale over,the voice doctors,the mothers midwivesor whotookpart in illegal the practicesabortions the despite Blaga-Florin-Iepan/Decreteii-e-un-film-despre-generatia-mea.html 30 Produktion GmbH orJan Wrijman Fund. by ARTE ZDF televisions andand byEuropean institutionsother such Westend Film& as TV film was the supported also andTelevision, Subcultura National Romanian the earlier. Besides conscience” music,shirts, bandsandpencils. film move Iactually the want to something intheRomanian his intentions were to “provoke a great public debate. I want the name of the movie to be on T- 1 October on authorities of theeffects investigates well. Decree770issuedby the The documentary Romanian the the Decree Children of documentary, “Cold waves”. in involvefilm,Solomon his asaproducer with thesubsequent not careerwill did this start mentioned a the amount of significantamount400,000 euro,for adocumentary. Although modified, and filmthe received thefunding. Concerning the budget of film,the Solomon 31 Interview with Iepan. Interview with Iepan. Closely related with Solomon’s with related Closely 31 , thus placinghis movie in, thus documentaries category of explained the interactive the Liternet Liternet , directed by Florin Iepan had the support of as hadTelevision supportof National the the byFlorinIepan , directed st 1967regarding birth control by conducting aseriesinterviews with of , (December2003), available online at http://agenda.liternet.ro/articol/663/Iulia- , (December2003). Robbery… 53 , in terms of intentionsin terms , andof production, , accessed May 11 May , accessed 30 th 2012. , insisting on the fact that The CEU eTD Collection 33 Royal Embassy of Netherlands the documentary follows a community of Roma near the near Roma of community a follows documentary the Netherlands of Embassy Royal theRoma culture and of Initiative Anthropology the support by Foundation with Visual of the aspirations towards becoming businessman and get ofrid poverty.the (the fire that destroys a house, killing the children of the mother, the death of(marriage or theburningthe donkey, of the non-sold merchandise with poisoned) the aim of avoiding the bad-luck),and theirtheir personal dramas documentary intends to the contradict landscape, the the at stereotypes reference concerning continuous a Shot and the Roma land. close-up the between minority, shifts work to which by following camera, able moving being their a permanent ritualsnever with road, the on themselves find always to them upon sent curse the in village 34 9a25-71c3a06732ca fund/about.aspx 32 Budral Dumitru presence of nationalities. these between cultural relationships the metaphor on a represents live onthe bankright andthe from Romanians bank leftthe of themovie river.Therefore, the who Ukrainians the it), in reconstructing interested not were (who Russians the in 1944), retreat between Austrians and Hungarians (who built the bridge), the Germans (who destroyed itin their political the reasoning” bridge using European whichFunds, finally comes to asuccessful inend 2004. The“absurdity of background andthetechnological limitations. St of the river onthe banks communities neighboring the Tisza, across by yearsa bridge lackof the almosttry 60 to communicateoffersinto an insight the life between on border the Romania for and Disconnected Ukraine. and connectSt with Tisza across eachBridge other, despite low-budget countriesthe with their different ethnic From the officialsynopsis of the film at http://www.idfa.nl/industry/tags/project.aspx?id=d33c482b-fe4f-4c82- The title refers to one of the last lines in the documentary, which reminds the belief of the inhabitants ofthe inhabitants ofthe belief the reminds which documentary, the in lines last of the one to refers title The AboutJan Vrijman Fund, available online at http://www.idfa.nl/industry/markets-funding/vrijman- ă nculescu herself “Art-doc”, located in Bucharest. The perspective proposed by St proposed perspective The in located Bucharest. “Art-doc”, nculescu herself The Fund isThe Fund closely connected with its IDFA aim financingfilmswith from own of the Last, but not the least, the anthropological movie earned its ratio of success through the through success of ratio its earned movie anthropological the least, the not but Last, , accessed May 12 May , accessed . The other co-producer of film co-producer other . The her thecompany established by was 33 is revealed by the constant reference of the history of relations history the isreference of of the by constant revealed the ă th ’s 32 The Curse of the Hedgehog The Curseof , co-producing Ileana St , co-producing Ileana 54 ă nculescu presents the attempts toconstruct a ă 34 nculescu’s debut documentary debut nculescu’s in the official selection. Produced selection. official the in ă nculescu The CEU eTD Collection Sept 30 Sept by in distributed companies Romania private the meannarrative expository Solomon’s only andcommunistpropaganda. typedemonstrate that documentary of documentary, captivating reflexive and not andto does do public the wastoconciliate tonew with tried a WhatSolomon of andpropaganda.” consisted documentary was generally a short-movie that supplemented thefeature film in the cinemahall for cinema,as documentary notexist”,a genre, he does argues, mainlybecause “before 1989the indocumentary,both eyes the “in publicof the in producers: the and of eyes the the Romania in Romania 1995.Solomon’s after forabsence the explanation stands in falseimagethe of the Distribution movies. their finish to order in capital economic gain and CNC) and Television National (the on Europeanlevel,the filmmakers the wereabletoassure supportorRomanian the producers beingaccepted by have gained they that capital cultural Basingonthe andproducers. foreign the (EURIMAGES andMEDIA) by and areco-produced companies newly the established private companies (ZDF, ARTE,BBC),special European funds (Jan Wrijman) or Programs common features in of terms Europeanfundingthe either by involvementthe of television aspirations towardsbecoming businessmen and getrid of poverty.the their and donkey) the of death the mother, the of children the killing house, a destroys that fire (the dramas personal their bad-luck), the avoiding of aim the with merchandise non-sold the burningthe (marriage or of rituals their by following minority, Roma concerning stereotypes the Romanian city of Sibiu over a whole year. The intentions of the filmmaker was to contradict the As mentionedI previously, documentariesthe werenolonger screened cinema in hall the In conclusion, analyzed five documentaries the in intention of terms and production share th , 2005and represented thesecondin documentary screened cinema Ciulei’s halls after 55 Independenta Film and Great Robbery Great Libra Film , starting, … was CEU eTD Collection dependent on luck.” on dependent highly awardsare the than other: the filmbetter a is say that who few people are only a This mechanism is itself questioned by the filmmaker: “the juries interest me less, because there appreciation of the film, (as in the case of all the other filmmakers), based on the festivals votesnumerous of a jury. at different institutions http://www.astrafilm.ro/old/documente/curse_hedgehog_presentation.pdf “Dialektusand International Film Festival”, (Budapest 2007),but also requested fordidactic and research purposed Film.doc (Romania, 2005), “Special Acknowledgment” International Ethnographic Film Festival (Belgrade, 2005) 36 2012. festivals thirty than documentarul-ca-autoportret/ 11 35 St Budral presentation, official the to according Bridge”. “The showed International and broadcasted Romanian the National Television Children… of case inthe as broadcasting, the after or before studios inthe debates and organized Arte,intelevisions ZDF involved Francedocumentaries theproduction 2)showedthe (BBC, or cinemahalls. the enter manage to Europolis 38 Festival2001), “Best Documentary” (Cinema dei Popoli, Firenze 2002). 37 It also won aseries of awards such as “Best Documentary Award” (Docupolis, Barcelona, 2005), “Grand Prize” at Interview with Ciulei, Documentary International (Kalamata Olive” “Golden 2001), (Belfort Documentaire” duJury Prix “Grand won It Your online Documentary Cinema, th ă , 2012. nculescu’s Referring to the question of success, probably the “luckiest” movie is “luckiest” Ileana questionthe tothe Referring success, probably of The second type of distribution was the broadcasting on the televisions: in general, the However, the film festivals represented probably the main focus of probably themainfilmmakers: focus of the filmfestivals the represented However, although did not last morenotlast although than documentaries of did weeks. Thedidnot a couple other or The Bridge across Tisza across Bridge The Europolis, 37 36 38 and a couple of awards. This last term, “success” creates a rather subjective arather creates “success” lastterm, This andawards. of acouple Mihai Fulger’s blog, , while the success of , whilesuccess the , accessed May 9 May , accessed while (although not involved while not (although inthe DunaTV(Hungary)production), http://dafilms.com/director/7962-ileana-stanculescu/ 35 (2005) http://mihaifulger.wordpress.com/2011/07/01/thomas-ciulei- th , 2012. , a project that received the that a project , Europolis ă ’s 56 The Curse The Curse… The materialized in the official competition at competition in materialized official the was in the official selection at more at selection official in the was and YLE (Finland) and FOX First Appearance Award , accessed May, 31 , accessed May accessed , st , The at CEU eTD Collection campus.com/v2/page/masterschool/dcm_films/ 41 Prix, Mediawave/ Gyor), Spain (Documenta/Madrid) (Grand Hungary (Pessac), France in awards received it (Jerusalem), Israel and USA(Minneapolis) the (Sarajevo), 40 9, 2012. 39 movie). watch In the to pay ticket the persons of number limited only a hall(where cinema the audience supposes (where filmfestivals the tomovie at either the watched that audience on the of documentaries the be more critical), televisionsprobably the most subjective from them all, because of the impossibility investigateto (where the effects is It documentaries. the of the analysis in the role audience important an plays critics film and audience is higher) or in the Audience and Reception others. Iepan work continued to on a documentary Belaabout by Lugosi produced andAVRO, Arte Clara B. prestigeconsequence,the As directinfilmmakers of Solomon Europe. a direct wasaskedto the and social in capital order to change thehierarchy in film the autochthon industry,but also raised with his success share of categories. for different four awards only offered and competition, inthe official movies from 200 only 2000 jury selected recall that I will award, the of importance stress the To section. debut the to given award IDFA 2004,the MasterSchool Film 2008, available online at http://www.documentary- Solomon’s For more details about this film festival, visit the official website http://www.idfa.nl/industry.aspx The success gained at the festivals contributed as well to its transformation ineconomic its transformation to aswell contributed festivals atthe The successgained In close connection with the appearance at different festivals, the reception by the reception festivals, the different at appearance the with In close connection by producers Arte, France3 and Centre National de Cinematography Arte, byNational France3 Cinematography while and Centre producers (France), de Great Robbery was officially selected in festivals from Romania (TIFF), Italy (Trieste), Bosnia The Children… 39 Bothof receivedprizesthem important , accessed May May 13 , accessed atZagreb, and was screened at more than 15 festivals. 57 th , 2012 40 while Iepan while got Iepan (accessed May, (accessed 41 CEU eTD Collection Observator Observator Cultural, 44 saturation. Annotations from Belin 2001”], 45 Ciulei”], 43 refusal. initial the after movie the for support financial the accepted 42 dishonesty”, and imbecility of interfusion aspects, real grotesque marginal,but main the explanation of one-sidedthe perspective lies in the images main and uponthedisgusting, uponthereal explanation insistence of the enormous, being accused of presenting anegativeimage of the country. Some ofthe critics argued that “the favorable tothe movies and supported them membersas ofjuries atdifferentcompetitions. in general, were, film critics mass the media, by the documentaries the of reception the respect to the harsh conditions. The film correspondent of film correspondent The harsh the conditions. filmed duringthe winter when iseverything frozenand of the inhabitants Deltathe try resistto clichés, with touristic in contrast Delta Danube the imageof an public to the present to choice police.” secret the more than manipulate directors Thomas Ciulei stated: Ciulei Thomas swearingfor population the of Romania” with and characters, suggestingthe some gestures them vulgardotted atypical dialogues, controlled he had that invoked also have They reality. the of reflection false a and generalization have seen his movie who critics inall Romanian “almostthe mentioned that screened was first documentary where the Berlin blamed Ciulei for a lack of objectivity, considering it as forced Hurezeanu in Richard Wagner, “Europolis, un film de Thomas Ciulei”, [“Europolis, a film by Thomas Ciulei”], William Totok M. Iorgulescu, in Richard Wagner, “Europolis, un film de Thomas Ciulei”, [“Europolis, a film by Thomas It is the case, for example, of Andrei Gorzo, member of the jury of the National Center of Cinematography who The exception is Ciulei’s is exception The Observator Cultural, everything you want, we’llhelp you”. In I thisifrealizedwhat case, people can do, I their eyes from in have they that conscious always are They themselves. play characters a the camera and that I want to tell a story. They even say: “You can narrate , “Debusolare, criza si saturatie. Insemnari de la Berlinala 2001”, [ Disorientarion, crisis and crisis [Disorientarion, 2001”, Berlinala dela Insemnari saturatie. si criza , “Debusolare, In my movies, and in the most recent movies recent most the in and my movies, In 107 (2002). 107 (2002). Europolis Observaor Cultural, 43 whilejournalist the wrote Emil “thethat Hurezeanu , which received negative critics in early 2000s,the 45 In a later dialog with film critic Mihai Fulger, Mihai critic film with dialog a later In 58 Cultural Observatory 44 These two comments refer to the director’s 53(2001), accesed May,9 Europolis more as in the others, at the Berlin Film Festival Film Berlin the at th 2012 42 CEU eTD Collection However, Andrei Gorzo has some doubts about the irony and the spent their life”. their spent us of some which in irony and terror between interfusion the eyes own with sees movie…One a within movie A hall. cinema the at see must one that qualities cinematographic rare with film a film “a spectacle, the considers Popescu example, Laura For congratulations: well-deserved connected the Romanian criticism with the European one, an absence that still persists. documentaries was the absence of a journal dedicated todocumentaries which havecould in specialized critics community of a consistent of explanations of the One representation. imposed by the traditional one, as an objective claim of reality, ignoring the various modes of lines in the documentary still considered didand which filmmakers the to newstandards to the Robbery”] http://agenda.liternet.ro/cronici/marelejafcomunist.html Serban/RPR-face-ordine-Marele-jaf-comunist.html 48 47 documentarul-ca-autoportret/ 46 Alex Leo Solomon, Alexandru with Interview Interview with Ciulei, conscience – they have justifications. waking of the conscience does nothappen communist– the monsters have no conscience to the murderer-Brother.But the scene doesnot have the expected result, the Hamletin which actors reconstitute the killing of the father the and provokesde acrisis images. youngdirector The hopes to provoke apsychodrama,re-making thescene from purification rituals which heconducts, bringing together thesurvivors tosee themovie to have more a direct humor.And I evenam less convinced concerning effectthe of the On the other hand, Solomon’s hand, other the On filmApparently, adapt with Romanian the critics thesame documentary not did rapidity they have in their reality. their in have they am not of afraid using these things, even giving another perception inmy movies than Atelier Liternet, ù erban, “RPR face ordine – Marele Jaf communist”, [RPR makes order – The Great Communist Solomon bringsone nearanother victims the the perpetrators to and watch those I am not sure that his discrete irony is helpful in this context. Maybe it was better 47 Alex Leo Leo Alex Mihai Fulger’s blog, (October2005), available online at http://agenda.liternet.ro/articol/2123/Alex-Leo- , accessed May 9 May , accessed ù erban mentions that mentions erban 46 HBO Magazine (2005) http://mihaifulger.wordpress.com/2011/07/01/thomas-ciulei- th Robbery , 2012. 48 , accessed May May 11 , accessed , (November 2005), available online at online available 2005), (November , , accessed May 11 May , accessed 59 received the attention of the film critics and the and critics film the of attention the received th 2012. th , 2012 mise-en-scene .: CEU eTD Collection 53 http://agenda.liternet.ro/cronici/marelejafcomunist.html 52 online at http://www.romaniaculturala.ro/articol.php?cod=7029 50 May 11 accessed May 13 tradition”, Studio’s Sahia about forget to “We have in Decree” of the “children Iepan’s (see channel Discovery the model supreme the with propaganda, reformed of the or oftalk-shows scheme the 51 Robbery”] 49 Bridge Curse documentaries. other the reviews of The (such televisiondistributers companies) behind as and and Iepan“succeedsa universal the factthat conclusion.” inidentifying other critics realize the impact that by close model tothe Discovery theit movie thepromoted too Valerian considering attacked Sava film had (or can have) to the generationthe born aftermovie 1967 and the fact that was broadcasted by the Nationalsimilarities between the post-totalitarian Television.Romanian context and, for example Spain. production and distribution, film the nowaEuropean addresses audience, underlying the While film critic Laura Popescu, “Ne place documentarul”, [We like documentary”], [We like documentarul”, “Ne place Popescu, Laura Solomon, Alexandru with Interview Valerian Sava, 2006: “The National Television does not represent a stimulant agency…but rather an enemy…on an rather agency…but a stimulant represent not does Television National “The 2006: Sava, Valerian Bank Communist Great –The [“Reconstruction Comunist”, Jaf Marele – “Reconstituriri Gorzo, Andrei The Curse of the Hedgehog The Bridge concentrated more on the originality of the characters and their actions and the characters of originality the more on concentrated th was hardly by washardly critics. noticed Romanian the Solomon was also among the few that realized that once that, due to the changes in the changes the to due that, once that realized that few the among also was Solomon again. from 1959 or bringing the cameramen to the filming places and letting him film once Iepan’s happened. had what for responsibility the about - time long a for this about speak not did they that observing myself consoled barbarity,a Spain, in country whichknew Franco’sbetween dictatorship. Theassociation between stupidity and communication this experienced have I us. to only familiar lieglance, first the and terror is known to them, as it is for us. In the same time, I Dilema Veche 49 th It is amazing howeasily a foreign audience can understand things which are, at Children the impact is even more difficult to measure, as they did not have the solid , Sept 2005, available online at http://agenda.liternet.ro/cronici/marelejafcomunist.html … had probably the largest impact due to the interest in impact totheinterest of subject due the largest the probably … had , http://www.astrafilm.ro/old/documente/curse_hedgehog_presentation.pdf HBO Magazine 50 , (November 2005), available online at online available 2005), (November , , accessed May 11 May , accessed 60 , accessed, May 13 Observator Cultural th , 2012 th . Cultura 52 , 289 (2005) As for , 48 (2006),, 48 available 53 The Curse , while , , accessed , The The , … 51 , CEU eTD Collection transformed them from directors to producers and distributors. Succeeding on European level Succeedingproducers anddistributors. to on European themfrom transformed directors whose trajectory young for the be directors, winning the card to proved markets European encouraged by documentaries foreign the televisions. certain limitation in the mode was fundedinstitutionThe be interrupted. paidby price a couldn’t directors permanently the of representation and the adaptation state- the support their astheco-habilitation with projects, institutionsto national convince the of the techniques of theit, filmmakers could the Based on awards. international the winning gainedafter filmmakers TV the that capital cultural the also but industry, documentary the of evolution the to determinant was only institutions. distributednot produced byEuropean factor or economic The one forspecial funds co-production All the of in movies. five moviesthe analyzed were this chapter institutions,a couple as well as to of at Europeanlevel, the reforms manifested in creationthe of national backgroundfind and possibility the alternativeto an autonomous to state-fundingthe Conclusions in role as alsothe public a voice debate. of documentary the filmmakers,but the the both by modechosen the of representation invoke film critics addressed bythe reviews thatwere positive of reality.the The narrators and witnesses as role their awareof themselves, characters St and (Ciulei beyondclichés the communities (Budral Roma the stereotypes concerning against the audience. Either confronting with the Communist past asin case of Solomon or Iepan, the of or arguing attitude the changing of intention the common in have all they but practice, institutional of To conclude, the relationship with the audience differs from on film to another in terms The choice of founding private companies in order to ease their communication with ease the to with their in communication companies order foundingThe choice private of in the changes social the to both due was movies the of success the conclusion, In ă 61 nculescu), the first audience of movies audience of are the first the nculescu), the ă ), and exploring the life intradition the and exploring ), CEU eTD Collection the supportfromthe publicthe institutions. with time this projects, in other materialized which capital symbolic a of accumulation the meant 62 CEU eTD Collection Studio andStudio couldsave not it: by 2000, Sahia had only employee.one failed to do so, betrayedIn front of the new challenges, Sahia Studio triedby to take advantage of its economicthe capital,but it rules of capitalism.stopped. market reach European to national or of the andtheproduction documentaries capital’ Finally, theleave theStudioby 1996. Asadirectconsequence, Sahia remained with valuablethe ‘cultural political to filmmakers important changes determined campaign political in the involvement the when interest, affected the Revolution, adapting its type of capitals to the political changes that followed. films concerning filmmakers the its engagedwithAfter the production andStudio 1989,theirof talented filmmakers valuablewho produced filmseven in harsh the condition of censorship. justParty,machine ofthealso depository Communistwas notof a simple but the propaganda Sahia First, inexact. proved transition ‘involutionary’ followed an companies state-dependent the Romanian industry. legislation European with the by imposedmodelsnew another regulatedand lawsadopted political power and the approached level, national a At production,the distribution and exhibition longerdid no survive inthebeforeterms 1989: the institutions. these from agents the of role the neglecting without capitalism in implementing institutions of role the to attention paying capitalism to socialism state by adjustment’ proposed lookatand Townsley Eyal,enabled transition the from usto Szélenyi ‘trajectory of concept the theories, tothese connection strong In Romania. communist in industry post- film documentary the thekeysinunderstanding one ofcapital types represents Conclusions Final However, on the long run, the social (political) capital proved to play against its own In the light of the ‘trajectory adjustment’ theory, my initial hypothesis according to which Engaging with Bourdieu’s the regardingtheories the field of cultural andproduction the 63 CEU eTD Collection their productions. financiallychange support lawsmembersdetermining establishedandthe to elite the to of the by against resources of the of distribution the rejection protested capital,have successfully they between theEuropean andnetworks Romanian cinematography. Using their cultural and social they filmmakersimposed anew became theindependent where hierarchy a nationalAt level, andcapital. social economic of cultural, in accumulation the materialized form the West. with producers the contact whicheasedtheir companies founded their private themselves, they their careers. (Budral documentaries Working festival documentariesthe producedby of a significant dedicatedto or absence (Solomon), Sahia in parallelthe European at programsthe andstate television filmmakersthe mobile as a institutions between positioning Romanian the on onesideand the companiescompanies on the other. Disappointed or withat the ‘type’different of projects to sustain On the other hand, the ‘trajectory adjustment’ concept allows understanding the career of career the allows understanding concept adjustment’ ‘trajectory the hand, On theother The direct collaboration with the European The collaboration programs direct European with the companies and television ă ), the young filmmakers searched for new patrons in order to continue in to new order for patrons searched young filmmakers ), the 64 intermediaries CEU eTD Collection Books Bibliography x x x x x x x x x x x x x x x x x x x Ceau Katherine, Verdery, http://www.scribd.com/doc/46143440/In-Slujba-Presedintelui, Tu (Ithaca, N.Y.: Mario Einaudi Center for International Studies, 1991) David,Stark contemporaryRomanian film Sava, Valerian, the post-communism Sârbu, Adrian T., Polgar, Alexandru, (Bucharest: Editura Reu, 2009) Editura Reu, (Bucharest: Sakwa, Richard,Sakwa, Reu, David, Indiana Univ. Press, 1991) Bill, Nichols, Andrew Film GreatBritain,Studies, 2009) communism Jäckel, Anne, Matei, Alexandru, Iordanova, Dina, Regan, Rhyna, (London, NewYork: Routledge, 2010) Finney Angus, University Press, 2000) Faraday, George 1998) class andelite formation struggles in post-communist Central Europe, Eyal, Gil, Szélenyi, Ivan and Townsley, Eleanor, documentaries…and something more Damian, Lauren Damian, 1897-2000 Theory and Research for the Sociology of Education (New York, Greenwood) (NewYork, for theSociology of Education Theory Research and Bruzzi, Stella, (Cambridge: Polity 1993) Press, Bourdieu, Pierre, Bourdieu Pierre, &ă Ġ liman, C liman, uleasa Pantelie, ú escu’s escu’s Romania ], (Bucharest: Funda Editura ă ], (Bucharest: Publishing,], IBU 2011) lin, Secvente dinistoriatarii Path Dependence andPrivatization inEastCentral Strategies Europe Representing reality:issues andconcepts in documentary, European Film Industries New Documentary, Istoriacritic The internationalbusiness:film amarket guidebeyondHollywood Ġ Istoria filmului romanescIstoria filmului 1897-2000 , Revolt of the , Revoltof filmmakers iu, Post-communism The formsofcapital The field The cultural offield production: essays onartandliterature Mormântul comunismului românesc, In slujaPre Despre documentar…siinca cevainplus National ideology under socialism: identityand cultural politics in ], (Cluj:], IdeaPublishing 2010) House, , (Berkely: University of California Press, 1991) ă ], (Bucharest: Editura Meridiane, 1999). a filmului românesc afilmului contemporan ú edintelui Film Festival. Yearbook1–The Festival Circuit, , (Philadephia, Penn: Open University Press, 1999) (Routledge, Great Britain,(Routledge, Great 2006) ], (Bucharest:], Tehnic Editura , firstin published J. Richardson Handbook (Ed.) of Genealogii ale post-comunismului, [ Fragments from the history ofthecountry Ġ , (London: , (London: British 2003) FilmInstitute, iei Culturale Române, 2001) 65 [“Serving the President”], available online at [“Serving the President”], (Pennsylvania: The Pennsylvania State Making capitalism without capitalists: , [ The historythe ofRomanian film [ The grave the of Romanian , [ , About , [ The critic history ofthe ă , 2003) (London: Verso, (Bloomington: [ Genealogies of ], , (St. CEU eTD Collection Filmography x x x x x x x x x x x x x x x x x x x x x x http://www.youtube.com/watch?v=I83Cl75Bwco&feature=relmfu from Footage Revolutionthe filmed by Adrian Sarbu available online at by C De Cr Damian, Laurentiu. Damian, Laurentiu, tanase-povestea-cenzurata-documentar story, Damian Laurentiu, Constantinescu Mihai, Constantinescu Com http://www.youtube.com/watch?v=iEEAONVFQ7U Thomas, Ciulei, Thomas, Ciulei, cultura/asta-e-documentar, 1994, Sahia Studio) Calotescu, Virgil, Calotescu, http://fa.osaarchivum.org/filmlibrary/browse/director?starting=B&val=80379, Open Society Archives film archive Cern Budral Ada-Kaleh Alexandru Sahia Studio (collective), Studio Alexandru Sahia http://www.youtube.com/watch?v=dhezZGfFNDs Snow – TheGreat Snow Blast, x=15&feature=plpp_video http://www.youtube.com/watch?v=Zc889BeaPhY&list=PL9CDB3AB7AA69C989&inde Moscu, Copel,Moscu, Mesaros, Titus, Mesaros, Studio) Iliesiu, Mirel, Iliesiu, (Sahiafilm, 1995). Florin, Iepan, http://www.youtube.com/watch?v=3w9p7ck3lbY available onlineat (Romania, 1973) Alexandru Sahia Studio (collective), Studio Alexandru Sahia Alexandru Sahia Studio (collective), Studio Alexandru Sahia Iepan, Florin Iepan, Gladin, Stefan (collective) Studio Alexandru Sahia ăWă ă ă (Romania, 1987)availablehttp://www.trilulilu.ro/video-film/maria- onlineat nescu, Serban nescu, ianu, Felicia, ianu, ă ă ciun ne-amluatra lina Fernoag , Dumitru, (1968), available onlinehttp://www.youtube.com/watch?v=mmqEHsd-eT8] at Nascuti lacomanda:Decreteii: Zece minute cu clasa muncitoare/Ten minutes with the working class, Barajul Bicaz/TheDam Bicaz from Sa lefacempetoate/Let’s dothem all Am aleslibertatea Stuf Gratian Europolis Reconstituirea/ TheReenactment Reconstituirea/ Blestemul ariciului Maria T Destinul Mare / Drumul cainilor Abidance Ramanerea/ The ă Desprinderea/Breaking away Desprinderea/Breaking The The reed and Cornel Mihalache, Sa nunerazbunati/Do notrevenge us (Romania,excerpts 1995), at Ġ ia de libertate/On Christmas Daywe gotourratio offreedom (2004) ă nase –Povestea cenzurata (Alexandru Sahia Romania,1966),Studio, 1954) available online at / ú We chose freedom available onlinehttp://www.trilulilu.ro/video- at alului/The Destiny of Marshall ofAntonescu alului/The Destiny / Jurnalul liber/TheFreeNewsreel The Roadofthe Dogs Ultima Primavar In lupt C.A.P Reca C.A.P / The Curse ofHedgehog 66 ă cun The the Decree,Children of (1992) ú (Romania,Alexandru 1960, Sahia /The collective farm from Recas from collective farm /The ă (Romania,Sahia 1990, Studio) me , (Sahia 1959) Studio, (Sahia 1990) Studio, , (Romania,1990) Ġ ă ii –MareleViscol/Fighting the laAda-Kaleh/The last Spring at / Maria T (1991) (SahiaStudio, 1994) (2004), available atthe ă nase –Thecensored , (Romania, 1990) (2004) (Romania, CEU eTD Collection Websites x x x x x x x x x x x x x x x x x x x x x x x http://www.kinokultura.com/specials/6/romanian.shtml Br (including Kinokultura, NewRussian Cinema, Special 6:Romanian Issue Cinema (May 2007), Kinokultura Jan Vrijman Fund, http://www.idfa.nl/industry/markets-funding/vrijman-fund/about.aspx, 07052013.html http://www.kurzfilmtage.de/nc/en/59th-international-short-film-festival-oberhausen-02- International Short FilmFestival Oberhausen International Documentary Film Festival, capital.htm http://www.marxists.org/reference/subject/philosophy/works/fr/bourdieu-forms- HiFilm Production Company Gladin directed Gladin Dok LeipzigFestival campus.com/v2/page/masterschool/masterschool/, Documentary Campus Masterschool, http://www.bbc.co.uk/radio4/reith/reith_history.shtml BBC, “The history of the Reith Lectures”, Astra Film Festival, http://www.astrafilm.ro/despre-aff.aspx. Alexandru Solomon’s website, http://www.alexandrusolomon.ro/, AGERindependent FILM, film company,http://www.agerfilm.ro/ http://www.youtube.com/watch?v=8Fd_T4l2qaQ Vertov, Dziga,Vertov, 71c3a06732ca http://www.idfa.nl/industry/tags/project.aspx?id=d33c482b-fe4f-4c82-9a25- St Communist-Bank-Robbery- http://www.cultureunplugged.com/play/3163/Marele-Jaf-Comunist--The-Great- Solomon, Alexandru, Solomon, Vizuale, http://docuart.ro/regia/alexandru-solomon 2001), Solomon, Alexandru, Solomon, 1993, Fundatia Vizuale) Arte available online http://docuart.ro/regia/alexandru-solomon Sahia Studio), http://www.youtube.com/watch?v=CKlOw3o41u4Sahia Studio), Solomon, Alexandru, Igaszag, Radu, Solomon, Alexandru, http://docuart.ro/regia/alexandru-solomon (Romania,Fundatia 1993, Vizuale),Arte available online at Alexandru, Solomon, Vizuale),Fundatia Arte http://docuart.ro/regia/alexandru-solomon Alexandru, Solomon, Saucan Mircea, Lucian, Pintilie, Pop, Sabina, Pop, ă nculescu, Ileana, , NewRussian Cinema, http://www.kinokultura.com/index.html Panc The man withThe man themoviecamera Sa facem totul Sa facem Casa depestrada noastra/The streetfromourhouse Reconstituirea/The Reenactment Reconstituirea/The (Romania,Sahia 1987, Studio) Podul/The Bridge official http://www.dok-leipzig.de/home/?lang=en,website: The GreatCommunistBankRobbery, Omul cuo mie deochi/Man with onethousandeyes Duo pentru Poloncel siPetronom/Due Paoloncel for and Petronom Cronica delaZurich/TheChronicle fromZurich http://www.hifilm.ro/. / Let’s doeverything http://www.documentary- Strigat in timpan (2004) 67 Amsterdam, http://www.idfa.nl/industry.aspx, , more, about the festival at (U.S.S.R, 1929), , Romania,1969 , / Scream ineardrum (EURIMAGES, CNC, (EURIMAGES, 2004) (Romania,1957, ă deanu, Adina , (Romania, 1996 , (Fundatia Arte , (Romania, CEU eTD Collection x x x x Journals x x x x Mitulescu si compania – not guilty,” Cultural, 2001”, [Disorientarion, crisis and saturation. Annotations from Belin 2001”], Observator Cultural (2000-2004) film by Thomas Ciulei”], Thomas by film Dilema Veche, http://www.romaniaculturala.ro/articol.php?cod=7029 to forget about the tradition of 48(2006),Sahiaavailable Studio” online at http://www.romaniaculturala.ro/articol.php?cod=7029, Discovery”, [“Romanian Documentary: between andDiscovery”]Sahia 48(2006) Cultura Moveast http://www.kinokultura.com/specials/6/romanian.shtml, Romania”, in Post-communist Practice Film and Memory Documentary: and “Death accessed May, 31 Your online DocumentaryCinema, Westend TV, http://www.westendtv.com/42.0.html?&L=1. http://www.cncinema.abt.ro/Personalitati-Detalii.aspx?prn_ID=prn-305,Sabina Pop, Krakow Film Festival x x services”], x (2007). savage capitalism”] x http://arhiva.dilemaveche.ro/index.php?nr=188&cmd=articol&id=6577, Veche x http://www.romaniaculturala.ro/articol.php?cod=5043, x http://agenda.liternet.ro/cronici/marelejafcomunist.html, at online x The Great Communist BankCommunist Robbery”] The Great x x x x 48(2006) , International Film Periodical, 8(2002) 53(2001), , 188 (2007), available, 188(2007), online at 188(2007) Sava Valerian, “Razvan Theodorescu, Sergiu Nicolaescu, Decebal William Totok , “Debusolare, criza si saturatie. 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(2005) ă ă nculescu, Dumitru Budral [ , March 2012,available at online Free Romania Observator Cultural, th Ġ 2012. ii pentru acel lungmetraj acellungmetraj care ii pentru Formula As ] November 23 th Observator Cultural , 2011 th Observator , 2012 ă , Florin Iepan, , Nr670 No rd , 1990, , Nr. st , CEU eTD Collection Legislation x x x http://www.cdep.ro/pls/legis/legis_pck.htp_act_text?idt=39124, accessed May 29 http://www.cdep.ro/pls/legis/legis_pck.htp_act_text?idt=39124, Legea 630/27November2002 cinematografic-sahia-film-(7F357A93859B8E45).jsp, http://www.cautalege.ro/hotarare-486-1991-infiintarea-regiei-autonome-studioul- Hot lege-80-1990-1175.aspx Decretul 80/1990 ă rârea deUrgen [“Decree 80/1990”], available onlineathttp://www.legex.ro/Decretul- [“Decree 80/1990”], Ġă 486/1991 , [“Law 630/2002”] [“Lawavailable 486/1991”], online at 70 th 2012