Dana Duma is Professor in Film Studies at the Bucharest National University of Theatre and Film. Member of FIPRESCI, she is a regular contributor to the film press in Romania and abroad, and a frequent member of international festival juries. She published the books Self-portraits of Cinema: Gopo, Woody Allen: a Bufoon and a Philosopher; Benjamin Fondane. Cineaste, and co-edited the anthologies Cinema 2000: Tendencies in European cinema, The Personality of Latin-American Cinema. She is the director of Film magazine and the editor of film and media studies journal Close-up. Christina Stojanova is a media historian, specializing in philosophical, ideological, and analytical-psychological aspects of narrative modes and fictional representation in the cinemas of Quebec, interwar Germany, and Eastern and Central Europe. Associate professor at the Department of Film, University of Regina, since 2005 she has contributes 20 chapters to internationally acclaimed publications, two of which – Wittgenstein at the Movies (2011) and The Legacies of Jean-Luc Godard (2014) – she has co-edited. Editor of the forthcoming The New Romanian Cinema (2019), she is currently working on monograph about Canadian animator Caroline Leaf.

In the last decade and a half the New Romanian Cinema became the most exciting phenomenon originating from the old Eastern Europe. This collection, in which the leading specialists in the area cover topics such as minimalism, genre, gender, intermediality and intertextuality, as well as its roots in national and global context, is a valuable addition to the body of work about Romanian cinema.

• Christina Stojanova, Introduction Part I. Modernism/ Minimalism 1.Dominique Nasta, Beyond Modernity: The Stylistic Divide and the New Romanian Cinema 2. Ioana Trocan, Minimalism in the New Romanian Cinema: Absent, Omnipresent or Misjudged? 3. Ioana Uricaru, No Melo – Minimalism and Melodrama in New Romanian Cinema Part II. Intermediality/ Intertextuality 4. Ágnes Pethő, ‘Exhibited Space’ and Intermediality in the films of Corneliu Porumboiu 5. Katalin Sándor, Filming the Camera: Reflexivity and Reenactment in Lucian Pintilie’s Reconstruction (1969) and Niki and Flo (2003) 6. Melinda Blos-Jáni, Ephemeral History and Enduring Celluloid: Cinematic Reality and Theatricality in Nae Caranfil’s Films7. Liviu Lutas, Remediation and Minimalism in New Romanian Cinema: The Example of Cristi Puiu Part III. Ethics/ New Aesthetics 8. Christina Stojanova, Authenticity in New Romanian Cinema: ‘Ethics and Aesthetics are One’ 9. Ioana Uricaru, The Square and the Screen: The Ethical Dimension of the New Romanian Cinema 10. Kalling Heck, Cristian Mungiu’s Beyond the Hills and Austerity PoliticsPart IV. Gender/ Genre 11. Dana Duma, Woman Films: Body and Will 12. Andrea Virginas, Traces of Genre in New Romanian Cinema: A Narrow Path for a Small Entity Part V. National/Place and Transnational/Space 13. Mircea Deaca, Kitchen Encounters: Scenes of Face to Face Dialogues in Films of the New Romanian Cinema 14. Marian Țuțui and Raluca Iacob, New Romanian Cinema: Geography and Identity15. Doru Pop, The ‘Transnational Turn’: New Urban Identities and the Transformation of Contemporary Romanian CinemaPart VI. Christina Stojanova, Historical Overview of Romanian Cinema COMBINED BIBLIOGRAPHY NEW ROMANIAN CINEMA FILMOGRAPHY (Compiled by Raluca Iacob) GENERAL FILMOGRAPHY (Compiled by Raluca Iacob) NOTES ON CONTRIBUTORS INDEX