{"title":"The figure of the imaginary gypsy in film: I Even Met Happy Gypsies (1967)","authors":"Radmila Mladenova","doi":"10.3828/RS.2016.1","DOIUrl":null,"url":null,"abstract":"The article presents a critical study of Aleksandar Petrović’s celebrated work I Even Met Happy Gypsies (1967). The analysis focuses on the content and functions of the cinematic gypsy figure drawing its insights from Yuri M. Lotman’s spatial model of culture, Critical Whiteness Studies, Postcolonial Studies and Antigypsyism. The transposition of the fictional gypsy into the idiom of film is considered in detail on the level of plot, character delineation and visual aesthetics. The work of the renowned Serbian director makes a superb example of the artistic strategies by which the gypsy myth is rendered into an ‘authentic’ ethnographic document. Also, a parallel is drawn between gypsy films and blackface minstrelsy shows as a way of elucidating the three central functions of racial masquerade staged in effect in all gypsy films that make a claim to ethnographic truthfulness.","PeriodicalId":52533,"journal":{"name":"Romani Studies","volume":"26 1","pages":"1 - 30"},"PeriodicalIF":0.2000,"publicationDate":"2016-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/RS.2016.1","citationCount":"5","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Romani Studies","FirstCategoryId":"90","ListUrlMain":"https://doi.org/10.3828/RS.2016.1","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"ANTHROPOLOGY","Score":null,"Total":0}
引用次数: 5
Abstract
The article presents a critical study of Aleksandar Petrović’s celebrated work I Even Met Happy Gypsies (1967). The analysis focuses on the content and functions of the cinematic gypsy figure drawing its insights from Yuri M. Lotman’s spatial model of culture, Critical Whiteness Studies, Postcolonial Studies and Antigypsyism. The transposition of the fictional gypsy into the idiom of film is considered in detail on the level of plot, character delineation and visual aesthetics. The work of the renowned Serbian director makes a superb example of the artistic strategies by which the gypsy myth is rendered into an ‘authentic’ ethnographic document. Also, a parallel is drawn between gypsy films and blackface minstrelsy shows as a way of elucidating the three central functions of racial masquerade staged in effect in all gypsy films that make a claim to ethnographic truthfulness.
期刊介绍:
Founded in 1888, the Journal of the Gypsy Lore Society was published in four series up to 1982. In 2000, the journal became Romani Studies. On behalf of the Gypsy Lore Society, Romani Studies features articles on many different communities which, regardless of their origins and self-appellations in various languages, have been referred to in English as Gypsies. These communities include the descendants of migrants from the Indian subcontinent which have been considered as falling into three large subdivisions, Dom, Lom, and Rom. The field has also included communities of other origins which practice, or in the past have practiced, a specific type of service nomadism. The journal publishes articles in history, anthropology, ethnography, sociology, linguistics, art, literature, folklore and music, as well as reviews of books and audiovisual materials.