Abstract
This chapter argues that instead of uncovering a certain social world as real, the films of new Romanian cinema depict the mobile, hesitant ways in which social institutions produce a reality in post-socialist society. In order to illustrate the historical-interpretive advantages of the concept of hesitation, this chapter focuses on the fugitive- and migrant narratives of new Romanian cinema in which the characters physically move back and forth between various institutions such as the prison, the state foster home, the hospital, various educational institutions, the police and immigration authorities.
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