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Constantin Parvulescu 

Publicaciones científicas más recientes (desde 2010)

Autores: Parvulescu, Constantin; Ni¿u, C.;
Revista: ILUMINACE
ISSN 0862-397X  Vol. 26  Nº 2  2014  págs. 99 - 118
Autores: Parvulescu, Constantin;
Revista: ILUMINACE
ISSN 0862-397X  Vol. 26  Nº 3  2014  págs. 21 - 36
This article analyzes the opening titles of Romanian socialist films. It reveals how their credits reflected changes in how the Romanian film industry and film culture perceived the social functions of cinema, authorship, and, marketing. The form, structure, and content of these sequences testify to the director's elevation to the position of author. Romanian film culture did not simply follow official Communist positions on the role of the arts in society however. While the Romanian Communist Party promoted socialism and nationalism, international capitalist production and distribution trends increasingly shaped cinema in this country. Whereas the late-socialist regime expressed an anti-western stance, Romanian title sequences indicated cinema was heading in an altogether different direction: it was becoming ever more auteur-driven and aspiring to marketability on an international art cinema circuit that traversed western markets and festivals. [ABSTRACT FROM AUTHOR]
Autores: Parvulescu, Constantin;
Libro:  Global finance on screen: from Wall Street to Side Street
2018  págs. 105 - 122
Autores: Parvulescu, Constantin; Dr.;
Título: Márta Mészáros
Libro:  Oxford Bibliographies
2016  págs. 1
Autores: Rosenstone, R.; Parvulescu, Constantin;
Título: Introduction
Libro:  A Companion to the historical film (Paperback)
2015  págs. 1 - 10
Autores: Parvulescu, Constantin;
Título: Romanian cinema
Libro:  Oxford bibliographies: cinema and media studies
2015  págs. 1
Until the mid-2000s the scholarship on Romanian film has been written almost exclusively in Romanian. Its pioneering scholars were D. I. Suchianu and Ion Cantacuzino, who published books on the cinema in the 1930s. Since Romania had no consistent (and relevant) cinematic output until the 1950s, its historical studies came also into being late, in the 1960s. The year 1989 was another turning point in Romanian film historiography, spurring post-socialist reconsiderations, as was 1996, when the celebration of one hundred years of cinema witnessed the publication of several historical studies. Consistent international representation started in the mid-2000s, prompted by the international visibility of the New Romanian Cinema. Since then, English-language film magazines and film studies journals featured reviews of every new Romanian production, and academic scholarship started to yield its first articles. Interest in Romanian film traditions surged as well (both in Romania and abroad), coupled with an effort of the Romanian state to promote its cinema, both new and old. It set up more competitive and transparent financing schemes, supported the launch of a vibrant film festival (TIFF¿Transylvania International Film Festival) and, through its cultural institutes abroad, provided a dynamic alternative distribution network and public relations events for Romanian films.
Autores: Parvulescu, Constantin;
Libro:  A Companion to the historical film
2013  págs. 365 - 382
Post-Heroic Revolution: Depicting the 1989 Events in the Romanian Historical Film of the Twenty-First Century Constantin Parvulescu Until the fall of the Ceaus¿escu state-socialist regime in 1989, Romanian historical film [...]
Autores: Parvulescu, Constantin, (Editor)
2018 
Autores: Parvulescu, Constantin;
2015 
Unlike the benevolent orphan found in Charlie Chaplin's The Kid or the sentimentalized figure of Little Orphan Annie, the orphan in postwar Eastern European cinema takes on a more politically fraught role, embodying the tensions of individuals struggling to recover from war and grappling with an unknown future under Soviet rule. By exploring films produced in postwar Hungary, the German Democratic Republic, Czechoslovakia, Romania, and Poland, Parvulescu traces the way in which cinema envisioned and debated the condition of the post-World War II subject and the "new man" of Soviet-style communism. In these films, the orphan becomes a cinematic trope that interrogates socialist visions of ideological institutionalization and re-education and stands as a silent critic of the system's shortcomings or as a resilient spirit who has resisted capture by the political apparatus of the new state.
Autores: Rosenstone, R., (Coeditor); Parvulescu, Constantin, (Coeditor)
2015