The theory of synchronism was one of the most influential ideas in the Romanian interwar period. Eugen Lovinescu championed the powers of imitation as a means of development for Romanian culture and society. At the same time, it was a case of illegitimate filiation that led to the uncritical importation of several types of ideas from Western European culture. By analysing Radu Jude’s found footage montage films, I argue that not all versions of imitation are in fact as positive as Lovinescu considered and speak about a newer concept of genealogy, one that relies on archives and that constructs a new regime of knowledge in the case of the representation of recent history.
Cezar Gheorghe (Tue,) studied this question.