{"title":"Misfits and Troubled Men. Masculinity and Violence in Romanian Socialist Cinema","authors":"Mădălina Pojoga","doi":"10.24193/mjcst.2022.13.11","DOIUrl":null,"url":null,"abstract":"This paper is part of an ongoing research project that aims at identifying types of masculinities in Romanian socialist cinema, by using gender studies and other contributions on the topic of masculinity in order to provide a sociological reading of Romanian films made during the communist regime. I will look at the way in which Western understandings of masculinity have been transferred to Eastern European categories of masculinity in cinema and I will establish a critical framework for my analysis, with an introduction to studies on masculinity, and expand on elements of sociological and psychoanalytical works, namely major contributions from Connell (1987), Segal (2007) and Horrocks (1994, 1995). Two defining concepts in masculinity studies are hegemonic masculinity (Connell 1987) and homosociality (Bird, 1996), theories which will constitute the basis for my case studies in order to see if male characters in Romanian socialist cinema fit into this categorization. The last part of this paper will be an analysis of three films, Reenactment (Reconstituirea, Lucian Pintilie, 1968), 100 Lei (100 de lei, Mircea Săucan, 1973) and At the End of the Line (La capătul liniei, Dinu Tănase), in which the male characters exist outside society, they cannot conform to what is being required of them as socialist subjects. The purpose is to see how gender performativity plays a role in the relationship between men, with a focus on violence and how it is connected to a search for a father figure and male friendships.","PeriodicalId":36476,"journal":{"name":"Metacritic Journal for Comparative Studies and Theory","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Metacritic Journal for Comparative Studies and Theory","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.24193/mjcst.2022.13.11","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE","Score":null,"Total":0}
引用次数: 0
Abstract
This paper is part of an ongoing research project that aims at identifying types of masculinities in Romanian socialist cinema, by using gender studies and other contributions on the topic of masculinity in order to provide a sociological reading of Romanian films made during the communist regime. I will look at the way in which Western understandings of masculinity have been transferred to Eastern European categories of masculinity in cinema and I will establish a critical framework for my analysis, with an introduction to studies on masculinity, and expand on elements of sociological and psychoanalytical works, namely major contributions from Connell (1987), Segal (2007) and Horrocks (1994, 1995). Two defining concepts in masculinity studies are hegemonic masculinity (Connell 1987) and homosociality (Bird, 1996), theories which will constitute the basis for my case studies in order to see if male characters in Romanian socialist cinema fit into this categorization. The last part of this paper will be an analysis of three films, Reenactment (Reconstituirea, Lucian Pintilie, 1968), 100 Lei (100 de lei, Mircea Săucan, 1973) and At the End of the Line (La capătul liniei, Dinu Tănase), in which the male characters exist outside society, they cannot conform to what is being required of them as socialist subjects. The purpose is to see how gender performativity plays a role in the relationship between men, with a focus on violence and how it is connected to a search for a father figure and male friendships.
本文是一项正在进行的研究项目的一部分,该项目旨在通过性别研究和其他关于男性气质主题的贡献来识别罗马尼亚社会主义电影中的男性气质类型,以便为共产主义政权期间制作的罗马尼亚电影提供社会学解读。我将研究西方对男性气质的理解是如何被转移到东欧电影中男性气质的范畴的,我将为我的分析建立一个关键框架,介绍男性气质的研究,并扩展社会学和精神分析作品的元素,即康奈尔(1987)、西格尔(2007)和霍罗克斯(1994,1995)的主要贡献。男性气质研究中的两个定义概念是霸权男性气质(Connell 1987)和同性恋社会(Bird, 1996),这些理论将构成我的案例研究的基础,以了解罗马尼亚社会主义电影中的男性角色是否符合这一分类。本文的最后一部分将分析三部电影,Reenactment (Reconstituirea, Lucian Pintilie, 1968), 100 Lei (100 de Lei, Mircea surucan, 1973)和At The End of The Line (La capatul liniei, Dinu turnase),其中男性角色存在于社会之外,他们不能符合社会主义主体的要求。研究的目的是了解性别表现如何在男性关系中发挥作用,重点关注暴力,以及它如何与寻找父亲形象和男性友谊联系起来。