Abstract

The fifth chapter examines the work of local cinema practitioners within the global context of filmmaking, the processes of modernity, and the desire for self-representation. It analyses a variety of preserved archival moving images: actualities, amateur films, documentaries and early fiction films, to highlight the diversity of films and filmmakers’ sensibilities in the Balkan region. The efforts to document local events and everyday scenes also emerge as a desire to capture a disappearing image of the communities and life in a period marked by turbulent events. Finally, I discuss the role of cinema in the nation-building process, which is symptomatic of the historical, social, and cultural context of the time, through a close analysis of two feature fiction films.

Keywords: Balkan film pioneers, self-representation, documentary footage, early fiction films, nationalism

Every human generation has its own illusions with regard to civilization; some believe they are taking part in its upsurge, others that they are witnesses of its extinction. In fact, it always both flames and smoulders and is extinguished, according to the place and the angle of view.

Yesterday evening, in the grand salon of Indépendance Roumaine, the cinematograph gave an extraordinary representation which attracted all the top levels of Bucharest society. […] The races at Baneasa which followed, were the golden highlight of the evening. The two views unravelled, in the midst of applauses, cries and bravos from all sides. The ladies recognized themselves with cries of astonishment, and the gentlemen, upon seeing themselves, addressed each other with all sorts of joyful epithets. These two views were applauded loudly, and had to be shown again. […] (Claymoor, L’Independance Roumaine, 13 (25) June 1897).