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Studia Politica: Romanian Political Science Review (2)
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Taking as a starting point one of the most relevant Romanian/Eastern European myths, Craftsman Manole, the article examines the female ideal set forth by Romanian filmography before and after 1989. During communism the female ideal had two variants: heroine worker and heroine mother. In the films produced after 1989, we identify a topic that, though not having changed its position within the structure of fantasy, has lost its grip on female desire and consent. The sacrifice performed by women now lacks its moral foundation and is portrayed as an action performed at the behest of a selfish, obscene patriarchal interest. The female sacrifice, performed without a moral justification, becomes a traumatic event. The female ideal after the revolution has two versions: the traditional role of the wife or daughter and the disaffiliated role of a prostitute.This paper revisits the politics of representation debates' post-1989 in relation to Ann-Sofi Sidén’s Warte Mal! Prostitution after the Velvet Revolution (1999). It seeks to address the manner in which the political is thought through the aesthetic, focusing specifically on the mediums of the video camera and the diary as research tools in producing a reconfigured essayistic narrative. This device, I propose seeks to understand an altered subjectivity, its production and consumption in the transition from one socio-economic and political system to another. The work shows a demand for a new type of critical cultural production in the face of the ubiquity of the image in the 21st century and its power, when harnessed by governmental or institutional restrictions, to render lived complexities as static moments confined to narratives of victimization which divert attention away from large-scale historical processes (the cultural, economic, political and social components) that drive women to work in enslaved positions in the sex industry. Boris Groys’ focus on the role of documentation as art and its biopolitical contingencies in his work for Documenta 11 (2002) and his book Art Power (2008) provides the theoretical underpinnings of the paper.