Abstract
ABSTRACT This article examines present-day reruns of Romanian socialist-era historical films, their programming, the publicity related to their programming, and their reception. It argues that, unintentionally, reruns act as an instrument of historical revisionism. It shows that the cinematic administration of the distant national past is still carried out by socialist-era films and explains the causes of this predicament and its cultural effects. It reflects on how the process of rerunning works to neutralize their labelling as Communist propaganda, a label that has been applied to these films by a large segment of Romania’s post-socialist cultural elite. The article also briefly explores the marketing of two films, Dacii (The Dacians, 1966) and Mihai Viteazul (Michael the Brave, 1971), and highlights the commemorative practices brought into the present by these films. It uses contextual and genre arguments to explain why the commemorative practices proposed by socialist-era film appeal to present-day audiences and why their symbolism and ways of relating to the past are appropriated in contemporary Romanian popular culture.
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