The Birth of the Post-Socialist Eastern European Televisual Collectivehood: Crime and Patriarchy in Shadows [Umbre, 2014–]

Anna Batori

doi:10.25038/am.v0i17.268

Authors

Anna Batori

DOI:

https://doi.org/10.25038/am.v0i17.268

Keywords:

crime, HBO Europe, Shadows, Wasteland, Golden Age, socialism, capitalism, television series

Abstract

The global proliferation of media distribution platforms, such as Amazon Video, Netflix, Hulu or HBO Go, and their support for local productions have entered the Eastern European region into a new quality televisual age. Thanks to the innovative industrial and technological framework and the transformation of production, exhibition and distribution practices in the era, the post-2000 epoch gave local filmmakers and media practitioners the opportunity for national self-expression that contributed to the birth of new narratives and aesthetic forms. By focusing on the Romanian series Shadows [Umbre, 2014–], the present article investigates the very local tone of Eastern European crime series produced by HBO Europe. This paper examines and enumerates the reasons for the proliferation of the genre, while discussing its local characteristics that, as argued below, gave birth to a collective Eastern European televisual collectivehood.

Article received: March 28, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper

How to cite this article: Batori, Anna. "The Birth of the Post-Socialist Eastern European Televisual Collectivehood: Crime and Patriarchy in Shadows [Umbre, 2014–]." AM Journal of Art and Media Studies 17 (2018): 37−48. doi: 10.25038/am.v0i17.268

Author Biography

Anna Batori

Faculty of Film, Theatre and Television, Babes-Bolyai University, Cluj-Napoca
Romania

Anna Batori (1985) is a Lecturer in Film Studies at the Babeş-Bolyai University (Cluj-Napoca, Romania) with an MA in Film Studies (Eötvös Loránd University, 2012) and a PhD in Film Studies (University of Glasgow/Screen, 2017). Her recent book, Space and Place in Romanian and Hungarian Cinema (2018), is published by Palgrave Macmillan. She writes and teaches on European and world cinema, modern film theory and digitized narrative techniques.

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DOI: http://dx.doi.org/10.25038/am.v0i17.268 DOI: https://doi.org/10.25038/am.v0i17.268