Prior to the collapse of communism, Romanian historical movies were political, encouraging nationalistic feelings and devotion to the state. Vlad the Impaler and other such iconic figures emerged as heroes rather than loathsome bloodsuckers, celebrating a shared sense of belonging. The past decade has, however, presented Romanian films in which ordinary people are the stars--heroes, go-getters, swindlers and sore losers. The author explores a wide selection, old and new, of films set in the Romanian past.

Prior to the collapse of communism, Romanian historical movies were political, encouraging nationalistic feelings and devotion to the state. Vlad the Impaler and other such iconic figures emerged as heroes rather than loathsome bloodsuckers, celebrating a shared sense of belonging. The past decade has, however, presented Romanian films in which ordinary people are the stars--heroes, go-getters, swindlers and sore losers. The author explores a wide selection, old and new, of films set in the Romanian past.

Links the nationalist focus of the Greater Romania Party to past nationalist discourse characterized by the continuity of themes including language, origins and ancestry, historical continuity, leadership, morality, and religion. Also explores the darker side of nationalism as revealed in invective against Romanian Jews, Gypsies, and Hungarians in the regions, among the internal and external 'others'

Based on the idea that there is a considerable difference between reality and discourse, the author points out that history is constantly reconstructed, adapted and sometimes mythicized from the perspectives of the present day, present states of mind and ideologies. He closely examines historical culture and conscience in nineteenth and twentieth century Romania, particularly concentrating on the impact of the national ideology on history. Boia's innovative analysis identifies several key mythical configurations and shows how Romanians have reconstituted their own highly ideologized history over the last two centuries. The strength of History and Myth in Romanian Consciousness lies in the author's ability to fully deconstruct the entire Romanian historiographic system and demonstrate the increasing acuteness of national problems in general, and in particular the exploitation of history to support national ideology.

Another in the 24 Frames series, each of these twenty-four essays discusses an individual film from the Balkan region (Bulgaria, Greece, Romania, Albania, and the former Yugoslavia-Serbia, Macedonia, Bosnia, Montenegro, Croatia, and Slovenia). These films represent the rich and diverse culture of the Balkans and reveal the stylistic and thematic affinities of a region often perceived as a disconnected cultural space. Films include: Stella (Greece, 1955), Goat's Horn (Bulgaria, 1972), When I Am Dead and Pale (Yugoslavia, 1969), The Red Horse (Yugoslavia, 1984), Stone Wedding (Romania, 1971), and Walter Defends Sarajevo (Yugoslavia, 1972).

One of the greatest challenges during the enlargement process of the European Union towards the east is how the issue of the Roma or Gypsies is tackled. This ethnic minority group represents a much higher share by numbers, too, in some regions going above 20% of the population. This enormous social and political problem cannot be solved without proper historical studies like this book, the most comprehensive history of Gypsies in Romania. It is based on academic research, synthesizing the entire historical Romanian and foreign literature concerning this topic, and using lot of information from the archives. The main focus is laid on the events of the greatest consequence. Special attention is devoted to aspects linked to the long history of the Gypsies, such as slavery, the process of integration and assimilation into the majority population, as well as the marginalization of Gypsies, which has historic roots. The process of emancipation of Gypsies in the mid-19th century receives due treatment. The deportation of Gypsies to Transnistria during the Antonescu regime, between 1942-1944, is reconstructed in a special chapter. The closing chapters elaborate on the policy toward Gypsies in the decades after the Second World War that explain for the latest developments and for the situation of this population in today's Romania.

Over the last decade, audiences worldwide have become familiar with highly acclaimed films from the Romanian New Wave such as 4 Months, 3 Weeks and 2 Days (2007), The Death of Mr. Lazarescu (2005), and 12:08 East of Bucharest (2006). However, the hundred or so years of Romanian cinema leading to these accomplishments have been largely overlooked. This book is the first to provide in-depth analyses of essential works ranging from the silent period to contemporary productions. In addition to relevant information on historical and cultural factors influencing contemporary Romanian cinema, this volume covers the careers of daring filmmakers who approached various genres despite fifty years of Communist censorship. An important chapter is dedicated to Lucian Pintilie, whose seminal work, Reconstruction (1969), strongly inspired Romania's 21st-century innovative output. The book's second half closely examines both the 'minimalist' trend (Cristian Mungiu, Cristi Puiu, Corneliu Porumboiu, Radu Muntean) and the younger, but no less inspired, directors who have chosen to go beyond the 1989 revolution paradigm by dealing with the complexities of contemporary Romania.