alina popescu | Université Paris Nanterre (original) (raw)

PhD Thesis by alina popescu

Research paper thumbnail of Les films étaient en couleur mais la réalité était grise...Cinéma et censure en Roumanie sous Nicolae Ceausescu (1965-1989)

Cette recherche retrace l’évolution de la cinématographie roumaine depuis la 2de Guerre Mondiale... more Cette recherche retrace l’évolution de la cinématographie roumaine depuis la 2de Guerre Mondiale jusqu’à la chute du régime communiste par le prisme de la censure, en s’attardant en particulier sur « l’époque Nicolae Ceaușescu » (1965-1989), remarquable par la quantité de films censurés. Pendant les quelques décennies de son existence, le régime communiste roumain n’a jamais relâché son contrôle sur le cinéma ; celui-ci a pris plusieurs formes en fonction du contexte politique, économique et social, allant des pressions exercées par la police politique sur les cinéastes à l’interdiction totale des films. L’effet d’un tel contrôle extensif a été une cinématographie qui n’a pas réussi à percer au-delà des frontières nationales et l’inhibition de l’éclosion d’une école nationale de cinéma. Cette thèse est donc l’occasion de s’interroger sur le rapport entre la censure et la production d’une cinématographie « invisible » ou « médiocre », à travers l’analyse des discours officiels concernant la culture, des institutions ayant des fonctions censoriales variables (l’Association des Cinéastes, les Maisons de Films, la Securitate, la Radio Europe Libre et autres), des trajectoires des réalisateurs les plus représentatifs de la période (Lucian Pintilie, Mircea Daneliuc, Radu Gabrea, Mircea Saucan, Mircea Veroiu, Alexandru Tatos, Dan Pita) et des films qui ont été particulièrement affectés par des immixtions politiques. En fin de compte, pour le régime communiste roumain, le cinéma a-t-il été « de tous les arts, le plus important » (Lénine) ?

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Research paper thumbnail of The films were in color, but reality was grey… The Censorship of Romanian Cinema during Nicolae Ceausescu’s regime (1945-1989)

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Articles by alina popescu

Research paper thumbnail of Ce a insemnat cenzura filmelor din perioada comunista

Brrlog (online) , 2020

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Research paper thumbnail of Uniunea Artiștilor Plastici din România, mediator al dialogului artistic cu Estul și Vestul în anii 1950-1980

Studia Politica. Romanian Political Science Review, 2017

Although many institutions were involved in the cultural diplomacy of the Romanian communist regi... more Although many institutions were involved in the cultural diplomacy of the Romanian communist regime, a very consistent part of the artistic exchanges with the East and the West were mediated by the Union of Artists. This paper would like to highlight the important role the Union played in framing the artistic exchanges with several “capitalist countries” and “popular democracies”, by looking at several agreements of collaboration between Unions or similar institutions. More precisely, we will look at the variations regarding the form and the quantity of exchanges that were established through such official documents and which referred mainly to exchanges of persons, informations or exhibitions. We will also look at the way these were organized in practice: the study of the travel reports, informative notes or daily programs that were produced on such occasions shows that these exchanges were systematically surveilled and politically motivated. A preliminary analysis of these allows us to observe the Union’s interests regarding the East and the West and suggests that the intensity of artistic exchanges with the Soviet Union maintained constantly high compared to other countries, no matter the political tensions.

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Research paper thumbnail of Argumentum: La place du grand frère. Les échanges culturels entre l'Union Soviétique et les démocraties populaires à l'époque communiste

The role played by the USSR in the popular democracies in Central and Eastern Europe is both over... more The role played by the USSR in the popular democracies in Central and
Eastern Europe is both overestimated and underestimated in current
works. It is overestimated in numerous studies, which consider the
imposing force of the “Soviet model” to have been acquired when these
countries fell under the Soviet sphere of influence at the end of World
War II. The mere definition of a model is however anything but clear: its
transplantation had many loopholes and showed significant discrepancies
depending on the periods and areas taken into consideration. It is
underestimated since the entire array of exchanges made with the USSR
during the socialist period have rarely been fully considered. While much
attention was paid to the relationship between the East and the West
during the Cold War, this special issue aims to address an underresearched
topic, the cultural relations between the popular democracies
and the USSR. By focusing on different countries and on different forms
of exchanges in literature, visual arts, architecture or cinematography, the
various contributions to this special issue are hopefully expanding the
study of East-East relations, while offering a necessary comparative
understanding of how each country shaped its own communist
experience.

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Research paper thumbnail of Une féérie musicale? Les coproductions cinématographiques entre la République Socialiste Roumaine et l’Union Soviétique/Romanian-Soviet Co-productions: A Musical Fairytale?

Studia Politica, vol. XVII, no.1/2017, 2017

This article brings forward an overview of the Romanian-URSS coproductions, in an attempt to expl... more This article brings forward an overview of the Romanian-URSS coproductions, in an attempt to explain how film functioned as an
instrument of cultural diplomacy between the two countries and between
the East and the West. While Romania has been involved in numerous
cultural exchanges and in many other forms of cinematographic
collaboration with the Soviet Union, this analysis focuses only on the
films whose artistic responsibility had been entrusted to a Romanian
filmmaker. Five films were thus identified, including a war film made in
the 1960s and four musicals and/or films for children and youth made
during the 1970s and 1980s. The fact that all of them put music more or
less in the foreground appears as no coincidence. This option responded
to a strategy oriented towards the Western public, and towards
celebrating a Romanian-Soviet friendship cleansed of political tensions.
Nevertheless, in a cinematography where politicized films were the main
priority, such co-productions played a significant role in the shaping of a
popular culture and of a cinema of entertainment.

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Research paper thumbnail of Des Unions professionnelles et pour la création dans la Roumanie communiste: une comparaison institutionnelle entre l'Association des Cinéastes et l'Union des Artistes

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Research paper thumbnail of Filmele-Pintilie si cenzura sau despre nasterea unui autor si moartea unei scoli nationale de film/ Pintilie-films and censorship or How an author is born and a national film school died

Lucian Pintilie started his career as a stage and film director in the 1960s, but made only four ... more Lucian Pintilie started his career as a stage and film director in the 1960s, but made only four films during three decades of Communism, one of which was made abroad. His talent was unanimously acclaimed from the very beginning, but he faced numerous problems with censorship in his activity in both theatre and cinema. By focusing on stenograph transcriptions of film debates found in the files of the Romanian National Film Archive, this article wishes to emphasise how cineastes and bureaucrats participated in the censorship process through discussions that aimed to fix the meaning of a film. These concern, more precisely, Pintilie’s debut film, Sunday at Six, and the last film he made in Romania before the end of the Communist regime, Why Are the Bells Ringing, Mitica?. Analysis of these shows that judgements were informed by different factors such as personal affinities, prestige, institutional background or different artistic views, and the impact these had on the destiny of a film. From this perspective, censorship appears to be much more contingent than an analysis focusing on the level of institutional or cultural politics’ would suggest. The documents also reveal that the filmmaker’s attitude towards the cinematographic authorities became gradually more radical. The scandals he generated in trying to defend his artistic views reveal the weak degree of autonomy of artistic judgements and the rigidity of the conception of what Romanian cinema was supposed to look like. Analysis of Pintilie’s case allows us to draw also on the idea of auteurship, which proved to be highly problematic in a Communist regime.

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Research paper thumbnail of Les archives de la Securitate, de nouvelles sources pour comprendre le fonctionnement de la cinématographie roumaine à l'époque communiste

L'ARCHIVE-FORME. Création, Mémoire, Histoire, 2014

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Research paper thumbnail of La trilogie d'Andrei Ujica sur la fin du communisme ou la reconstruction cinématographique de l'histoire

Traces, Mémoire et Communication, 2013

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Research paper thumbnail of The Romanian Filmmaker's Union. Between an Ambiguous Past and an Uncertain Future

vol. XI, no.20, Special Issue: (Re)imagining the Past, 2012

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Research paper thumbnail of Mircea Daneliuc et la censure. Le parcours d'un cinéastes roumain à travers les dossiers de la Securitate

Actes de la Journée Doctorale de l'Afeccav, Sep 9, 2011

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Conference Presentations by alina popescu

Research paper thumbnail of UAP și dispozitivele colective de formare politică și estetică a artiștilor pe parcursul anilor '50

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Research paper thumbnail of Glissando et la censure. De l'ellipse à l'allusion

Colloque international: Cinéma, Cognition et Art

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Research paper thumbnail of “Pessimistic, Superficial, Lacking Enthusiasm” : The Guiding Commissions of the Union of Romanian Artists and the Building of a National and Socialist Art during the 1950s

This paper investigates the contribution of the Romanian Union of Artists to the development of a... more This paper investigates the contribution of the Romanian Union of Artists to the development of an art “national in form, socialist in content”, but also of a professional and politically engaged group of artists during the 1950s. On an institutional level, this purpose was expected to be largely accomplished through the activity of guiding commissions (“comisii de îndrumare”) established in various art fields. As the name suggests, these commissions were in charge with the political, technical and esthetical guidance of artists, at a national scale. They were especially concerned with artists that were commissioned for the Annual State Exhibition, but their members were permanently looking for artists with socialist realist views and for those prone to “formalism” or “cosmopolitism”. Many archive documents attest the intense and challenging activity of these commissions, whether it concerned their own lack of rigorous methods of work, the conflicts with Party’s bureaucrats or the difficulties of maintaining a connection with the provinces. The guiding commission’s reports register very often the difficulties artists encountered in adopting the socialist realist method, despite all the instructions received. The paper focuses especially on the activity of the guiding commission in the field of painting, one of the most important arts in the hierarchy established within the Union. In order to examine its efforts in introducing a new understanding of art, special attention will be paid to the organisation and functioning of the commission within the Union of Artists and its discursive practices of guidance.

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Research paper thumbnail of Working with Head and Soul : Portraits of Censors and Practices of Censorship in Communist Romania

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Research paper thumbnail of The Romanian Union of Artists – Mediator of the Artistic Exchanges with the Soviet Union

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Research paper thumbnail of The Union of Artists and the Etatization of Arts in Romania in the 1950s

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Research paper thumbnail of Censorship of Foreign Films in Communist Romania

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Research paper thumbnail of The Romanian Union of Artists and the Formalisation of Artistic Dialogue with the East and the Weast During Late Communism

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Research paper thumbnail of Les films étaient en couleur mais la réalité était grise...Cinéma et censure en Roumanie sous Nicolae Ceausescu (1965-1989)

Cette recherche retrace l’évolution de la cinématographie roumaine depuis la 2de Guerre Mondiale... more Cette recherche retrace l’évolution de la cinématographie roumaine depuis la 2de Guerre Mondiale jusqu’à la chute du régime communiste par le prisme de la censure, en s’attardant en particulier sur « l’époque Nicolae Ceaușescu » (1965-1989), remarquable par la quantité de films censurés. Pendant les quelques décennies de son existence, le régime communiste roumain n’a jamais relâché son contrôle sur le cinéma ; celui-ci a pris plusieurs formes en fonction du contexte politique, économique et social, allant des pressions exercées par la police politique sur les cinéastes à l’interdiction totale des films. L’effet d’un tel contrôle extensif a été une cinématographie qui n’a pas réussi à percer au-delà des frontières nationales et l’inhibition de l’éclosion d’une école nationale de cinéma. Cette thèse est donc l’occasion de s’interroger sur le rapport entre la censure et la production d’une cinématographie « invisible » ou « médiocre », à travers l’analyse des discours officiels concernant la culture, des institutions ayant des fonctions censoriales variables (l’Association des Cinéastes, les Maisons de Films, la Securitate, la Radio Europe Libre et autres), des trajectoires des réalisateurs les plus représentatifs de la période (Lucian Pintilie, Mircea Daneliuc, Radu Gabrea, Mircea Saucan, Mircea Veroiu, Alexandru Tatos, Dan Pita) et des films qui ont été particulièrement affectés par des immixtions politiques. En fin de compte, pour le régime communiste roumain, le cinéma a-t-il été « de tous les arts, le plus important » (Lénine) ?

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Research paper thumbnail of The films were in color, but reality was grey… The Censorship of Romanian Cinema during Nicolae Ceausescu’s regime (1945-1989)

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Research paper thumbnail of Ce a insemnat cenzura filmelor din perioada comunista

Brrlog (online) , 2020

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Research paper thumbnail of Uniunea Artiștilor Plastici din România, mediator al dialogului artistic cu Estul și Vestul în anii 1950-1980

Studia Politica. Romanian Political Science Review, 2017

Although many institutions were involved in the cultural diplomacy of the Romanian communist regi... more Although many institutions were involved in the cultural diplomacy of the Romanian communist regime, a very consistent part of the artistic exchanges with the East and the West were mediated by the Union of Artists. This paper would like to highlight the important role the Union played in framing the artistic exchanges with several “capitalist countries” and “popular democracies”, by looking at several agreements of collaboration between Unions or similar institutions. More precisely, we will look at the variations regarding the form and the quantity of exchanges that were established through such official documents and which referred mainly to exchanges of persons, informations or exhibitions. We will also look at the way these were organized in practice: the study of the travel reports, informative notes or daily programs that were produced on such occasions shows that these exchanges were systematically surveilled and politically motivated. A preliminary analysis of these allows us to observe the Union’s interests regarding the East and the West and suggests that the intensity of artistic exchanges with the Soviet Union maintained constantly high compared to other countries, no matter the political tensions.

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Research paper thumbnail of Argumentum: La place du grand frère. Les échanges culturels entre l'Union Soviétique et les démocraties populaires à l'époque communiste

The role played by the USSR in the popular democracies in Central and Eastern Europe is both over... more The role played by the USSR in the popular democracies in Central and
Eastern Europe is both overestimated and underestimated in current
works. It is overestimated in numerous studies, which consider the
imposing force of the “Soviet model” to have been acquired when these
countries fell under the Soviet sphere of influence at the end of World
War II. The mere definition of a model is however anything but clear: its
transplantation had many loopholes and showed significant discrepancies
depending on the periods and areas taken into consideration. It is
underestimated since the entire array of exchanges made with the USSR
during the socialist period have rarely been fully considered. While much
attention was paid to the relationship between the East and the West
during the Cold War, this special issue aims to address an underresearched
topic, the cultural relations between the popular democracies
and the USSR. By focusing on different countries and on different forms
of exchanges in literature, visual arts, architecture or cinematography, the
various contributions to this special issue are hopefully expanding the
study of East-East relations, while offering a necessary comparative
understanding of how each country shaped its own communist
experience.

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Research paper thumbnail of Une féérie musicale? Les coproductions cinématographiques entre la République Socialiste Roumaine et l’Union Soviétique/Romanian-Soviet Co-productions: A Musical Fairytale?

Studia Politica, vol. XVII, no.1/2017, 2017

This article brings forward an overview of the Romanian-URSS coproductions, in an attempt to expl... more This article brings forward an overview of the Romanian-URSS coproductions, in an attempt to explain how film functioned as an
instrument of cultural diplomacy between the two countries and between
the East and the West. While Romania has been involved in numerous
cultural exchanges and in many other forms of cinematographic
collaboration with the Soviet Union, this analysis focuses only on the
films whose artistic responsibility had been entrusted to a Romanian
filmmaker. Five films were thus identified, including a war film made in
the 1960s and four musicals and/or films for children and youth made
during the 1970s and 1980s. The fact that all of them put music more or
less in the foreground appears as no coincidence. This option responded
to a strategy oriented towards the Western public, and towards
celebrating a Romanian-Soviet friendship cleansed of political tensions.
Nevertheless, in a cinematography where politicized films were the main
priority, such co-productions played a significant role in the shaping of a
popular culture and of a cinema of entertainment.

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Des Unions professionnelles et pour la création dans la Roumanie communiste: une comparaison institutionnelle entre l'Association des Cinéastes et l'Union des Artistes

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Filmele-Pintilie si cenzura sau despre nasterea unui autor si moartea unei scoli nationale de film/ Pintilie-films and censorship or How an author is born and a national film school died

Lucian Pintilie started his career as a stage and film director in the 1960s, but made only four ... more Lucian Pintilie started his career as a stage and film director in the 1960s, but made only four films during three decades of Communism, one of which was made abroad. His talent was unanimously acclaimed from the very beginning, but he faced numerous problems with censorship in his activity in both theatre and cinema. By focusing on stenograph transcriptions of film debates found in the files of the Romanian National Film Archive, this article wishes to emphasise how cineastes and bureaucrats participated in the censorship process through discussions that aimed to fix the meaning of a film. These concern, more precisely, Pintilie’s debut film, Sunday at Six, and the last film he made in Romania before the end of the Communist regime, Why Are the Bells Ringing, Mitica?. Analysis of these shows that judgements were informed by different factors such as personal affinities, prestige, institutional background or different artistic views, and the impact these had on the destiny of a film. From this perspective, censorship appears to be much more contingent than an analysis focusing on the level of institutional or cultural politics’ would suggest. The documents also reveal that the filmmaker’s attitude towards the cinematographic authorities became gradually more radical. The scandals he generated in trying to defend his artistic views reveal the weak degree of autonomy of artistic judgements and the rigidity of the conception of what Romanian cinema was supposed to look like. Analysis of Pintilie’s case allows us to draw also on the idea of auteurship, which proved to be highly problematic in a Communist regime.

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Research paper thumbnail of Les archives de la Securitate, de nouvelles sources pour comprendre le fonctionnement de la cinématographie roumaine à l'époque communiste

L'ARCHIVE-FORME. Création, Mémoire, Histoire, 2014

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Research paper thumbnail of La trilogie d'Andrei Ujica sur la fin du communisme ou la reconstruction cinématographique de l'histoire

Traces, Mémoire et Communication, 2013

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Research paper thumbnail of The Romanian Filmmaker's Union. Between an Ambiguous Past and an Uncertain Future

vol. XI, no.20, Special Issue: (Re)imagining the Past, 2012

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Mircea Daneliuc et la censure. Le parcours d'un cinéastes roumain à travers les dossiers de la Securitate

Actes de la Journée Doctorale de l'Afeccav, Sep 9, 2011

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Research paper thumbnail of UAP și dispozitivele colective de formare politică și estetică a artiștilor pe parcursul anilor '50

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Glissando et la censure. De l'ellipse à l'allusion

Colloque international: Cinéma, Cognition et Art

Bookmarks Related papers MentionsView impact

Research paper thumbnail of “Pessimistic, Superficial, Lacking Enthusiasm” : The Guiding Commissions of the Union of Romanian Artists and the Building of a National and Socialist Art during the 1950s

This paper investigates the contribution of the Romanian Union of Artists to the development of a... more This paper investigates the contribution of the Romanian Union of Artists to the development of an art “national in form, socialist in content”, but also of a professional and politically engaged group of artists during the 1950s. On an institutional level, this purpose was expected to be largely accomplished through the activity of guiding commissions (“comisii de îndrumare”) established in various art fields. As the name suggests, these commissions were in charge with the political, technical and esthetical guidance of artists, at a national scale. They were especially concerned with artists that were commissioned for the Annual State Exhibition, but their members were permanently looking for artists with socialist realist views and for those prone to “formalism” or “cosmopolitism”. Many archive documents attest the intense and challenging activity of these commissions, whether it concerned their own lack of rigorous methods of work, the conflicts with Party’s bureaucrats or the difficulties of maintaining a connection with the provinces. The guiding commission’s reports register very often the difficulties artists encountered in adopting the socialist realist method, despite all the instructions received. The paper focuses especially on the activity of the guiding commission in the field of painting, one of the most important arts in the hierarchy established within the Union. In order to examine its efforts in introducing a new understanding of art, special attention will be paid to the organisation and functioning of the commission within the Union of Artists and its discursive practices of guidance.

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Research paper thumbnail of Working with Head and Soul : Portraits of Censors and Practices of Censorship in Communist Romania

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Research paper thumbnail of The Romanian Union of Artists – Mediator of the Artistic Exchanges with the Soviet Union

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Research paper thumbnail of The Union of Artists and the Etatization of Arts in Romania in the 1950s

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Research paper thumbnail of Censorship of Foreign Films in Communist Romania

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Research paper thumbnail of The Romanian Union of Artists and the Formalisation of Artistic Dialogue with the East and the Weast During Late Communism

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Research paper thumbnail of Lucian Pintilie. Traiectoria atipica a unui realizator in lupta cu cenzura

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Research paper thumbnail of The Romanian Filmmakers'Union : Between an Ambiguous Past and an Uncertain Future

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Research paper thumbnail of La censure, de l'approche traditionnelle à la perspective contemporaine. L'exemple du cinéma roumain de la période communiste

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Research paper thumbnail of Les Maisons de films et la cure de jouvence de la cinématographie roumaine

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Research paper thumbnail of Being a popular Filmmaker before and after the Fall of Communism. A Romanian Success Story

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Research paper thumbnail of Le studio Sahia et la production de films documentaires à l'époque communiste

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Research paper thumbnail of CONSTANTIN PARVULESCU. Orphans of the East. Postwar Eastern European Cinema and the Revolutionary Subject. Indiana University Press, Bloomington & Indianapolis, 2015

Studia Politica. Romanian Political Science Review , 2017

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Research paper thumbnail of GABRIELLE CHOMENTOWSKI, Filmer l’Orient. Politique des nationalités et cinéma en URSS (1917-1938), Éditions Petra, Paris, 2017

Studia Politica. Romanian Political Science Review, 2017

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Research paper thumbnail of Martine Godet. "La pellicule et les ciseaux. La censure dans le cinéma soviétique du Dégel à la perestroïka", Paris, CNRS Editions, 2010

Anuarul IICCMER "Viata cotidiana in comunism (1945-1989), vol.VIII, Iasi, Polirom, 2013

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Research paper thumbnail of Uniunea Artiștilor Plastici din România în documente de arhivă

Uniunea Artiștilor Plastici (UAP) din România a fost înființată de autoritățile comuniste în 1950... more Uniunea Artiștilor Plastici (UAP) din România a fost înființată de autoritățile comuniste în 1950 prin preluarea patrimoniului Sindicatului de Arte Frumoase (1921) și beneficiind de sprijinul Fondului Plastic fondat în 1949. Această instituție a jucat un rol central în articularea unui model cultural bazat pe implicarea statului în creația artistică. Cu toate acestea, ea nu a beneficiat aproape deloc de atenția cercetătorilor din științele sociale.
Acest volum are menirea să servească drept instrument de lucru cercetătorilor preoocupați de problematica artelor plastice în general, și a UAP în particular, propunându-și să le ofere acestora documentele necesare înțelegerii cât mai complete a dinamicii ideologice și instituționale a acesteia.

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Research paper thumbnail of What the Fake

OFFRES - XVIIIe Université européenne d’été, 2018

Désigné comme mot de l’année 2017 par le dictionnaire Collins, l’expression « fake news » semble ... more Désigné comme mot de l’année 2017 par le dictionnaire Collins, l’expression « fake news » semble connaitre une popularité et des développements sans borne chez les acteurs médiatiques et politiques dominants et, à la faveur notamment de ses usages trumpiens, parmi les sites dit de « ré-information » tels que Infowar, Egalité & réconciliation ou TV Libertés.

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Research paper thumbnail of CFP Bucharest Triennale East Centric Architecture 2019 : CRITICAL DISCOURSES

The CFP is open to those interested in contributing from a theoretical point of view to the analy... more The CFP is open to those interested in contributing from a theoretical point of view to the analysis of the main theme of the Triennale: HOME|any|more|? Regardless of the geographical origin or the theoretical background of the authors, the expected articles or essays should focus on the Central and Eastern European region. The authors of the texts nominated by a jury presided by Sarah Robinson will be invited at the Triennale to present their work. The winning contributions will be awarded. The deadline for submitting short proposals is 25.02.2019. The final texts are expected by 25.03.2019.

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Research paper thumbnail of Appel à candidatures - Université européenne d'été

La XVIIIe Université européenne d’été du réseau OFFRES, intitulée « Réalité et fiction », se tien... more La XVIIIe Université européenne d’été du réseau OFFRES, intitulée « Réalité et fiction », se tiendra à l’Université Babes-Bolyai de Cluj-Napoca (Roumanie), du 19 au 26 juillet 2018

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Research paper thumbnail of CFP for the international conference: The " state artist " in Romania and Eastern Europe

Call for Papers for the international conference: The ”state artist” in Romania and Eastern Europ... more Call for Papers for the international conference: The ”state artist” in Romania and Eastern Europe, Faculty of Political Science, University of Bucharest, 5 November 2016. Deadline: 15th of May.

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Research paper thumbnail of La place du grand frère. Cultural Exchanges Between the Soviet Union and the Popular Democracies during the Communist Era

We invite researchers working on the topic of the USSR and the popular democracies to debate on t... more We invite researchers working on the topic of the USSR and the popular democracies to debate on the topic of cultural exchanges in theatre, literature, music, visual arts, architecture or cinematography

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Research paper thumbnail of La place du grand frère. Les échanges culturels entre l'Union Soviétique et les démocraties populaires à l'époque communiste, Colloque international, Bucarest, CEREFREA-­‐ Villa Noël, 16 septembre 2016

Ce colloque international se propose de mettre en perspective les évolutions des rapports des dif... more Ce colloque international se propose de mettre en perspective les évolutions des rapports des différentes démocraties populaires avec l'URSS par le biais de la culture.

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Research paper thumbnail of Call for Papers for the international conference: The ”state artist” in Romania and Eastern Europe Faculty of Political Science, University of Bucharest, 5 November 2016

The establishment of communist regimes in Eastern Europe brought for the visual arts, the establi... more The establishment of communist regimes in Eastern Europe brought for the visual arts, the establishment of the “state artist” (Haraszti). Artworks were commissioned by the state, which offered extensive rewards for the artists, obliged to comply with the political and ideological rigors of the regime. As part of the research project “From the “state artist” to the artist dependent on the state: the case of the Union of Visual Artists (1950-2010) – the Bucharest branch”, this conference seeks to explore the different transformations that the artists underwent in order to comply with the extensive role assumed by the totalitarian state in the arts. We invite contributions on the broad topic announced, that of the state artist in Romania and Eastern Europe with a specific focus on visual arts, but we are also interested to discuss other instances of collaboration with the regimes in place (1950s-1990). The conference aims to discuss the state artist in the context of communist regimes from multiple points of views. The topics discussed could be, but are not limited to:

− How was the new artist shaped by the communist regimes?
− Were artists able to integrate Socialist Realism as a mandatory style? If not, which were the limits of this mandatory style or the national specificities?
− Which were the types of resistance to the model of the state artist?
− How did Socialist Realism translate in different visual practices?
− What role did the Union of Visual Artists of Romania play? How does it compare to other unions in the East?
− What are the transformations of the unions of artists after 1990?

Those interested in presenting a paper should send an abstract of 500 words as well as a short CV (including a short list of publications) to caterinapreda@gmail.com until the 15th of May 2016. A selection of conference presentations will be published in a volume, thus the accepted participants must send their contributions 1 month in advance (1st of October 2016). The contributions must address the topic of the state artist, and must have 8.000 words including footnotes with a separate list of references. Organizing committee: Caterina Preda, Alina Popescu, Dan Drăghia. Place: The Institute for Political Research, Faculty of Political Science, University of Bucharest. The languages of the conferences are Romanian, English, French.

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