Book contents
- Frontmatter
- Contents
- List of Figures
- List of Contributors
- Acknowledgements
- Introduction
- 1 Aesthetics of Crisis: Art Cinema and Neoliberalism
- 2 Beyond Neoliberalism? Gift Economies in the Films of the Dardenne Brothers
- 3 The Resurgence of Modernism and its Critique of Liberalism in the Cinema of Crisis
- 4 Post-Fordism in Active Life, Industrial Revolution and The Nothing Factory
- 5 Re-evaluating Crisis Politics in the Work of Aku Louhimies
- 6 Crisis of Cinema/Cinema of Crisis: The Car Crash and the Berlin School
- 7 Representing and Escaping the Crises of Neoliberalism: Veiko Õunpuu’s Films and Methods
- 8 The Future is Past, the Present Cannot be Fixed: Ken Loach and the Crisis
- 9 It Could Happen to You: Empathy and Empowerment in Iberian Austerity Cinema
- 10 The Double Form of Neoliberal Subjugation: Crisis on the Eastern European Screen
- 11 Housing Problems: Britain’s Housing Crisis and Documentary
- 12 Miserable Journeys, Symbolic Rescues: Refugees and Migrants in the Cinema of Fortress Europe
- 13 Frontlines: Migrants in Hungarian Documentaries in the 2010s
- 14 Mongrel Attunement in White God
- 15 Labour and Exploitation by Displacement in Recent European Film
- 16 A Hushed Crisis: The Visual Narratives of (Eastern) Europe’s Antiziganism
- Bibliography
- Index
16 - A Hushed Crisis: The Visual Narratives of (Eastern) Europe’s Antiziganism
Published online by Cambridge University Press: 22 September 2020
- Frontmatter
- Contents
- List of Figures
- List of Contributors
- Acknowledgements
- Introduction
- 1 Aesthetics of Crisis: Art Cinema and Neoliberalism
- 2 Beyond Neoliberalism? Gift Economies in the Films of the Dardenne Brothers
- 3 The Resurgence of Modernism and its Critique of Liberalism in the Cinema of Crisis
- 4 Post-Fordism in Active Life, Industrial Revolution and The Nothing Factory
- 5 Re-evaluating Crisis Politics in the Work of Aku Louhimies
- 6 Crisis of Cinema/Cinema of Crisis: The Car Crash and the Berlin School
- 7 Representing and Escaping the Crises of Neoliberalism: Veiko Õunpuu’s Films and Methods
- 8 The Future is Past, the Present Cannot be Fixed: Ken Loach and the Crisis
- 9 It Could Happen to You: Empathy and Empowerment in Iberian Austerity Cinema
- 10 The Double Form of Neoliberal Subjugation: Crisis on the Eastern European Screen
- 11 Housing Problems: Britain’s Housing Crisis and Documentary
- 12 Miserable Journeys, Symbolic Rescues: Refugees and Migrants in the Cinema of Fortress Europe
- 13 Frontlines: Migrants in Hungarian Documentaries in the 2010s
- 14 Mongrel Attunement in White God
- 15 Labour and Exploitation by Displacement in Recent European Film
- 16 A Hushed Crisis: The Visual Narratives of (Eastern) Europe’s Antiziganism
- Bibliography
- Index
Summary
There is a serious crisis across Europe today, a crisis of racism. It is particularly palpable in Eastern Europe, where openly racist talk and actions emanate from a range of people who practise hate speech on a daily basis – from football fans to yoga teachers to real estate agents – at their workplace, in their social interactions and on social media. Yet it is a crisis that remains unacknowledged – mainly because the objects of racism and hate speech are the Roma, aka Gypsies. This is a crisis of antiziganism, a hushed one.
Take Jan Gebert's acclaimed documentary, Az prijde válka (When the War Comes, 2018). Set in Slovakia, the film follows the leader of a paramilitary group, Petr Švrček, a clean-cut youngster who is articulate and polite. We see him taking exams and helping older people around town, and on weekends training the other youngsters of his ‘army’ in the nearby woods. Is this training just for recreation purposes or has it real-life application? What is the war that these young people are preparing for? Who is the enemy that they will counter with their advanced fighting skills? This is never clearly identified. Viewers in Eastern Europe, however, know the answer – it will be a war against the Roma, against the refugees, against the ‘foreign’, against all those who are not ‘us’. In fact, it is not a war that is still to come – rather, it is a war that has already quietly started and that such groups are involved with. My attention in this investigation is focused on the reality of antiziganism and the war against the Roma – one that is not officially recognised but that rages across the countries of Eastern Europe – and on the way it has been represented in cinema of the past decade.
Roma are mistreated in Western and Eastern Europe alike, albeit in different ways. In Western Europe, actions against Roma that verge on human rights abuse (demolition of settlements, deportations without the chance to be heard, restrictions on welfare) are carried out by official enforcement bodies such as the police or welfare officers. They are reported on – mainly in human rights monitoring and Roma media, with little in the mainstream sources – but rarely cause much public outcry.
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- Cinema of CrisisFilm and Contemporary Europe, pp. 260 - 276Publisher: Edinburgh University PressPrint publication year: 2020