The Moldovan film Balada haiducească (Outlaw Ballad): the Phenomenon of Innovation through Tradition

Abstract

The polemical character of the paper is explained by the need to reconsider the generative factors in the configuration of the new cinematic wave of the “thaw” era. Unlike the popular postulate, the author launches the novel conception: the change in the face of Soviet cinema is entirely due to the ideational-aesthetic performances of the most ideologized genre of historical film, the historical-revolutionary one. Namely in the films, dedicated to the Russian revolution, there happened a reversal of values of the existential equations: “man – history”, “individual – collective”, “general – human-soviet”. Appealing to the generous virtualities of the mythical-archetypal analysis, we specified the change of the vector of cinematographic knowledge in the Balada haiducească/Outlaw Ballad by updating the patterns of the mythical-folkloric complex as the millennial censorship of the nation. Assigning the inspired cinematographic work both to the context of the “thaw” era and to that of the exponential Balkan genre – the film with outlaws, the singularity of the local discourse inscribed in the identity grid of the neo-romantic type was stated