Georgescu Diana
J Womens Hist. 2011;23(4):131-54. doi: 10.1353/jowh.2011.0046.
Drawing on recent Romanian films, this article explores the distinctive post-communist concerns with national relocation in the symbolic geography of Europe. The focus on tragic comedies, an increasingly popular genre in Eastern European cinematography, foregrounds the critical usage of irony to express skepticism about the inclusive nature of geopolitical projects such as the European Union by national communities situated at its periphery. While the tragic comedies examined here are successful in challenging official narratives of European belonging, they rely on highly gendered scripts that prove more resilient to ironic reworkings. The movies resort to gendered plots and family tropes, representing Romania’s efforts to receive European recognition as attempts to “marry into” the European Union. The larger thrust of this article is to open complex notions such as “Europe,” “nation,” and “gender,” which are notoriously prone to essentialization, to a deconstructive analysis as systems of differentiation.
本文借鉴罗马尼亚近期电影，探讨后共产主义时期在欧洲象征性地理中对国家重新定位的独特关注。本文聚焦于悲剧喜剧，这是东欧电影中越来越受欢迎的一种类型，突出了讽刺手法的批判性运用，以表达处于欧盟边缘的民族社区对欧盟等地缘政治项目包容性的怀疑。虽然这里所研究的悲剧喜剧成功地挑战了关于欧洲归属的官方叙事，但它们依赖于高度性别化的脚本，这些脚本被证明对讽刺性改写更具韧性。这些电影采用性别化情节和家庭比喻，将罗马尼亚争取欧洲认可的努力描绘成试图“嫁入”欧盟。本文的主旨是将诸如“欧洲”“民族”和“性别”等复杂概念——这些概念极易被本质化——作为差异化系统进行解构分析。
