AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: ANDRADA FĂTU-TUTOVEANU.
DOI: 10.24193/subbphilo.2021.1.18
Published Online: 2021-03-20
Published Print: 2021-03-30
pp. 249-263
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ABSTRACT: “A Star Is Born”: Gender, Soft Power and Biopics in Cold-War Romanian Cinema (Darclée, 1961) Obsessively interested in life writing from the periods of 20th-century dictatorships, Romanian post-communist culture has been dominated, with very few exceptions, by male authors. However, shyly, yet steadily, in this large-scale attempt to retrace and understand the traumatic past, there has been an opening in recent years towards women authors. Although few by comparison, these personal narratives are memorable. In terms of biographical novels and biopics, the most striking feature is the absence of such female representations. Departing from this context of gender oblivion and inequality, and considering the specificities of the life writing genre and its filmic representations, the current paper focuses on Darclée (Mihai Iacob, 1961), one of the very few biopics in Romanian cinema that revolves around a famous woman. Aside from being a rare, female-centered exception among Romanian biopics, the film is also noteworthy for its politicized content and therefore interesting to discuss in relation to the political context, the totalitarian regime present at the time in Romania and its cultural discourse. Despite dealing with a-turn-of-the-century figure of aristocratic and bourgeois origins, the film (with the wife of a communist leader in the leading role) is politically appropriated by the communist regime and announces National Communism in Romanian culture. The analysis will thus consider the political discourse employed in Darclée, with its unexpected nationalist emphasis, as well as the film’s strategies of representation as it covers, in a rare occasion, a female figure.
Key words: life writing, gender, Romanian cinema, Cold War biopic, musical film
