![\"8-martie-551113l\"](\"https:\/\/artapolitica.ro\/gazetapolitica\/wp-content\/uploads\/2013\/05\/8-martie-551113l.jpg\")
<\/a><\/p>\nby Nicolae Mandea<\/i><\/b><\/p>\n
The films which Nicolae Mandea analyzes in his essay \u2013 R\u0103sun\u0103 valea <\/b>(The Valley Is Bustling<\/i><\/b> \u2013 1950, director Paul C\u0103linescu), Puterea \u015fi adev\u0103rul <\/b>(Power and Truth<\/i><\/b> \u2013 1972, Manole Marcus) and 8 Martie <\/b>(March 8<\/i><\/b> \u2013 2012, Alexandru Belc) \u2013 focus on representations of the social repertoire of labor, emphasizing the accuracy of the details. The painting-like representations of the scenes of labor are usually rich in information about the characters, the spacial context, the world of objects and the typical attire. At the same time, the physical activities leave an indelible mark on the human body. They are indicators of the existential status of each character and of the tense and conflictual ways in which the characters interact.<\/p>\n
The starting point of the essay is the question Is anyone working in Romanian films?<\/i>. The emphasis in this question is placed on the relevance of the actions of labor and their social role, thus enabling an entire discussion about different degrees and forms of representation of the theme. The second question \u2013 which complements the initial one \u2013 introduces those who construct and impose representations: Whose is this perspective which channels the representation of the social world? Is it the perspective of the bourgeois world which imposes its own style? Or is it that of the political world which sees its crude propaganda represented in the media?<\/p>\n