Open AccessThe world of the fair: cinematographic interpretations / challenges (reflections based on films inspired from Ion Creangă’s works)
Author(s) -
Violeta Tipa
Publication year - 2021
Language(s) - English
Resource type - Conference proceedings
DOI - 10.52603/9789975333788.08
Subject(s) - drama , space (punctuation) , reflection (computer programming) , politics , plot (graphics) , phenomenon , dramaturgy , aesthetics , identity (music) , art , sociology , literature , art history , philosophy , computer science , mathematics , epistemology , political science , law , linguistics , statistics , programming language
The article focuses on the analysis of the fair, which is a reflection of the image of society, its material and spiritual values. The market, which in the Middle Ages attributed to its role as a commercial market an arena of social, political and cultural life as well, becomes a significant space in the dramaturgy of some films. We will research, in particular, the role and functions of the fair in films inspired from Ion Creanga’s works, starting with Amintiri din copilărie/ Childhood Memories (1965) and Mama/Mother (1976) – both directed by Elisabeta Bostan, Povestea dragostei/The Love Story (1977) and Rămășagul/The Wager (1984) directed by Ion Popescu-Gopo and ending with the film Dănilă Prepeleac (1998) in the vision of Tudor Tătaru. The fair with its full spectrum of elements becomes a phenomenon specific to our Romanian space, which identifies with a mundi axis of the world. All the more so in the film, the fair is assigned determining functions in its dramaturgical structure: the drama of the plot is woven, which provokes the characters to new actions; an identity landscape of space and time is prefigured.