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Media Representation of Romanian Feature Films, 2007-2014

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Flavia Dima

on 30 June 2015

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Transcript of Media Representation of Romanian Feature Films, 2007-2014

Media Representation of
Flavia Dima
Journalism EN
coordinator: Lect. Dr. Radu Meza
Research Topic

Theoretical Framework

Research Questions. Hypothesis


Quantitative research
Analysis of all texts
In-depth analysis of the five most frequently represented films

Qualitative research


An analysis of which Romanian movies are written about in the English-language media:

how they are presented
what types of movies are generally or more often presented
events and other factors that lead to the films being represented
recurring patterns in the representation

Media theory

Film theory
National Cinema

Media concepts
Content Analysis
Opinion Journalism

Film concepts
New Wave
European Cinema
The Romanian New Wave

What Romanian movies are written about in the foreign press? Which are more prominent?

What types of texts are used?

How are they represented: what are the dominant frames used in writing about Romanian films? How are these frames constructed?

Is there a correlation between the films’ New Wave aesthetics and the frequency of their representation?
The representation of Romanian movies in the international cultural press is generally influenced by the socio-political thematic of the film.

End Credits
Thank you
for your attention!
For each and any question or remark you may have, I remain at your disposal.
reviews for
all Romanian films from 2007-2014
were searched across
17 publications'online archives
173 articles
“Exotic” – praise, plot review, comparisons with other films

“Communism” – historical description of the regime, authenticity

“Post-Communist Transition” –comments mostly negative facts and attitudes in contemporary Romania

“Prize Winner” –the prize is the main indicator of the film’s quality

“New Wave” – describes characteristics of the RNW, references and comparisons to other films, elements of transition as a characteristic trait of the Wave’s thematic approaches
On the research
small number of publications and frames

personal familiarity with the films their social topics

Future work
larger scope (time-frame, publications, countries, frames and concepts)

first paper to take into consideration the international coverage of Romanian films to such an extensive degree
representation as a means of seeing how a cinema is approached and received outside of its national borders, inside mediums that may interpret certain information included in the films differently
Analysis of all texts
In-depth analysis
Total results
Results per film
Results per publication
Most represented filmmakers
Article distribution across years
Cristian Mungiu
31 articles, 2 films
Corneliu Proumboiu
19 articles, 2 films
Cristian Nemescu
9 articles, 1 film
Cristi Puiu
9 articles, 1 film
Călin Peter Netzer
15 articles, 2 films
Radu Muntean
10 articles, 2 films
2011: 9 articles, 5 films
2008: 9 articles, 4 films
2007: 26 articles, 3 films
2009: 33 articles, 6 films
2010: 45 articles, 10 films
2014: 3 articles, 1 film
Most represented films
16 articles
15 articles
14 articles
13 articles
9 articles
9 articles
9 articles
8 articles
6 articles
2012: 26 articles, 4 films
2013: 25 articles, 4 films
Total amount of articles
6 articles
6 articles
36 articles
26 articles
18 articles
8 articles
9 articles
10 articles
11 articles
14 articles
17 articles
Top authors
Jay Weissberg
(22 articles)

Neil Young Hollywood Reporter (7 articles)
David Parkinson
(6 articles)
Peter Bradshaw
The Guardian
(6 articles)
Ronnie Schieb
(6 articles)
A.O. Scott
Hollywood Reporter (5 articles)
Articles per profile
Articles per national origin
Results per publication
Results per film
Frame distribution
Types of texts
Frame distribution
Types of texts
Quantitative approach:
A: Total amount of texts
B: Frame distribution and text type of five most represented films
Qualitative approach: understanding the construction of frames

On representation
Seeing the New Wave as being Romanian national cinema invites the addition of social, political, economic and judicial factors in
the analysis of the film.

However, a"national" cinematic product doesn't and cannot represent or reflect the views and lifestyles of its citizens, even though it is grounded in the nation's social reality.

This may lead to an erroneous interpretation of Romania's overall national identity, which may not be intended by the films' authors.

Agenda-setting theory: prized films from the Romanian New Wave are more represented than others, which appear in film-oriented publications.

Opinion Journalism: most texts are movie reviews (easily accesible to the reader); texts written in the frame of the “New Wave” enter the area of critical essays. As such, the type of frame influences the type of text and vice-versa.

Framing theory:
“Exotic” helps reader imagine the contents of the "high quality" film that is being reviewed
“Communism” sees the film as a historically accurate portrayal of the era
“Post-Communist Transition” tells reader that it is a representation of contemporary Romania
“Prize Winner” sees the prize as the main indicator of quality
New Wave” frame expects readers to have a more specialized knowledge of the New Wave and of cinematography in general.

Full transcript