<abstract xmlns="http://www.w3.org/1999/xhtml"><p>The paper discusses the question of media reflexivity and allegorical figuration in Lucian Pintilie’s 1992 film, <italic>The Oak.</italic> Through a fictional narrative, the film reflects on the communist period from the historical context of the post-1989 transition strongly marked by the after-effects of dictatorship and by political, social and economic instability. By incorporating a diegetic Polaroid camera and a home movie, <italic>The Oak</italic> displays a reflexive preoccupation with the mediality and the socio-cultural constructedness of the image. The figurative, allegorizing tendency of the film – manifest in the subversive recontextualization of grand narratives, iconographic codes or images of art history – also foregrounds the question of cultural mediation. I argue that by displaying the non-transparency of the cinematic image and the cultural mediatedness of the “real,” the media-reflexive and allegorical-figurative discourse of the film can be regarded as a critical historical response to the social and representational crises linked to the communist era, but at the same time it may be symptomatic of the social, cultural, political anxieties of post-1989 transition.<xref ref-type="fn" rid="j_ausfm-2016-0003_fn_001_w2aab2b8c12b1b7b1ab1aaAa"><sup>1</sup></xref></p></abstract>

The paper discusses the question of media reflexivity and allegorical figuration in Lucian Pintilie’s 1992 film, The Oak. Through a fictional narrative, the film reflects on the communist period from the historical context of the post-1989 transition strongly marked by the after-effects of dictatorship and by political, social and economic instability. By incorporating a diegetic Polaroid camera and a home movie, The Oak displays a reflexive preoccupation with the mediality and the socio-cultural constructedness of the image. The figurative, allegorizing tendency of the film – manifest in the subversive recontextualization of grand narratives, iconographic codes or images of art history – also foregrounds the question of cultural mediation. I argue that by displaying the non-transparency of the cinematic image and the cultural mediatedness of the “real,” the media-reflexive and allegorical-figurative discourse of the film can be regarded as a critical historical response to the social and representational crises linked to the communist era, but at the same time it may be symptomatic of the social, cultural, political anxieties of post-1989 transition.1

The Polaroid and the Cross. Media-Reflexivity and Allegorical Figurations in Lucian Pintilie’s <italic>The Oak</italic> (1992)

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

The Polaroid and the Cross. Media-Reflexivity and Allegorical Figurations in Lucian Pintilie’s  (1992)

The paper discusses the question of media reflexivity and allegorical figuration in Lucian Pintilie’s 1992 film, The Oak. Through a fictional narrative, the...

The Polaroid and the Cross. Media-Reflexivity and Allegorical Figurations in Lucian Pintilie’s The Oak (1992)

Publié en ligne: 24 sept. 2016

Pages: 45 - 66

DOI: https://doi.org/10.1515/ausfm-2016-0003

Mots clés
Pintilie, media reflexivity, allegory, intermediality

© 2016 Katalin Sándor, published by De Gruyter Open

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

The Polaroid and the Cross. Media-Reflexivity and Allegorical Figurations in Lucian Pintilie’s The Oak (1992)

Publié en ligne: 24 sept. 2016

Pages: 45 - 66

DOI: https://doi.org/10.1515/ausfm-2016-0003

Mots clésPintilie, media reflexivity, allegory, intermediality

© 2016 Katalin Sándor, published by De Gruyter Open

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Mots clés
Pintilie, media reflexivity, allegory, intermediality