Magic Realist Cinema in East Central Europe (Traditions in World Cinema EUP)
Format: PDF / Kindle (mobi) / ePub
Magic Realist Cinema in East Central Europe explores the interlocking complexities of two liminal concepts: magic realism and East Central Europe. Each is a fascinating hybrid that resonates with dominant currents in contemporary thought on transnationalism, globalization, and regionalism.
In this critical and comprehensive survey, Aga Skrodzka moves the current debate over magic realism's political impact from literary studies to film studies. Her close textual analysis of films by directors such as Jan Svankmajer, Jan Jakub Kolski, Martin Sulík, Ivo Trajkov, Dorota Kedzierzawska, Ildikó Enyedi, Béla Tarr and Emir Kusturica is accompanied by an investigation of the socio-economic and political context in order to both study and popularize an important and unique tradition in world cinema. The directors' artistic achievements illuminate the connections between a particular aesthetics and the social structure of East Central Europe at a precise moment of contemporary history.
This fascinating introduction to a unique regional trend in cinema will be welcomed by undergraduate and postgraduate students in Film Studies, as well as scholars researching magic realism and world cinema.
the usual inconspicuousness of history. Although the aforementioned changes were world-altering, the news reports and chronicles published at the time were quick to catalogue them into orderly sequences of cause and effect. Instead, Schulz, by employing the motif of metamorphosis, undercuts the classifying impulse and proceeds to reflect the strangeness of the world spinning in the motion of events. As a representative of the East Central European province, and consequently a member of the
Space, trans. Donald Nicholson-Smith. Oxford: Blackwell. Lungu, Dan (2010) ‘“Miserabilism” or Post-Traumatic Realism (in Romania)’, Writer’s Notebook, February. McKibbin, Tony (2004) ‘Cinema of Damnation’, Senses of Cinema, December. Malinowski, Bronislaw (1954) Magic, Science, and Religion, and Other Essays. Garden City, NY: Doubleday Anchor, 70. Marchant, Steven (2009) ‘Nothing Counts: Shots and Event in Werckmeister Harmonies’, New Cinemas: Journal of Contemporary Film, 7, 2, 137–54.
as a symbol of exilic memory, Iordanova dismisses the charge expressed by many critics who see the village motif, so strongly present in the recent cinema of the region, as a gesture of reactionary fetishism, a search for purer and simpler values that, in turn, boil down to veiled chauvinism and nationalism. Although mainly preoccupied with matters of history, Iordanova not only sees the importance of the village in terms of renegotiating the past but, more importantly, she assigns this pictorial
exaltation’ of Expressionism, the movement of Magischer Realismus that Roh theorised and promoted in the pictorial arts was better known as New Objectivity (Neue Sachlichkeit in German).45 In the words of Sergiusz Michalski, ‘Neue Sachlichkeit was interested first and foremost in the world of objects, irrespective of whether the items depicted belonged to technology or not.’46 Roh also stresses magic realism’s ‘insatiable love for terrestrial things and a delight in their fragmented and limited
duplicitous simulations of commodity objects that ‘tout the satisfactions they can supply and the needs they can meet’ to human subjects.68 The raindrops and the stick never become objects as such, or if they do, a certain amount of subjectivity is retained and detectable in Trzaskalski’s portrayal of those objects, as a young child might perceive them. These elements of physical matter are shown by Trzaskalski, and seen by his child character, as fragments of cosmic matter, which links humans