the persecution of Roma during Nazism) and the representation of Roma as a group outside history. A key figure in this topic is Katie Trumpener, a German literary historian whose work analyses Roma representation and the relationship between conceptualisations of specific historical events (e.g. The relevant literature is only partially available while some authors touch upon this subject, they rely almost exclusively on examples from the arts (i.e. My goal is to formulate an ‘Eastern’ narrative of this representation, mainly by using illustrative Hungarian case studies. Images of a ‘Nation without History’īohumira Smidakova presents an important ‘Western’ narrative through the history of and changes to images of Roma from Spain, and analyses the figure of the Gitano as a building block of national discourse. This story represents the sin of greed as a ‘fatal’ action, which, according to the film, ‘explains’ the social and economic situation of the Roma who gave up their freedom. The latter is a myth of origin in an animated film directed by Katalin Macskássy the birds in the film symbolise Roma, who come down to eat until they overeat to the point that they can no longer fly. In forms of ‘Eastern’ representation, this wandering is depicted through stylised, poetic means, as for instance in Once We Were Birds (Russia, 1982) or The Never Existed Gypsyland (Hungary, 2010). Roma, Sinti, Manush, Gitanos and Travellers from all parts of Europe, but mainly from Western and Southern Europe, visit the statue of Saint Sarah (the patron saint of Roma) in the local church, while celebrating their transnational unity with dance and music. The French pilgrimage site Saintes-Maries-de-la-Mer is an important place of worship which links the arrival of Roma in Europe to Biblical motifs. Tony Gatlif’s Latcho Drom (France, 1993), Pisla Helmstetter’s From the Source to the Sea (France, 1989) and another episode of the aforementioned Katariina Lillqvist puppet series, The Black Sarah (Finland, 2002)). Engaging with abstraction within abstraction must be understood in terms of the construction and in terms of a response to the construction/structure of the film, in which narrative/subject matter can only be identified with their emergence from the way in which particular sequences/scenes work.The themes of music, wandering, assimilation and separation are characteristic of several films in the Archival selection (e.g. This presentation and what allows the film to be abstract is the confrontation with the conventions of abstraction. Abstraction here means a particular type of filmic presentation and it is the employment of abstraction as an already determined form of film construction. And it is there in the way memory is present: abstraction is not present simply because memory lacks a given determination, and thus all that is apparent in the film is memory in the abstract. In his analysis Gargett argues that memory is not added on rather, it is already present, and that the Deleuzian abstract quality does not lie in the negative relation to representation, externality, and figure. Gargett proposes that Memento acts as a type of intellectual stimulant that has the viewer deciphering a puzzle in process: what is identified in Memento is the way in which memory and the work of memory are presented in the film's narrative construct. Gargett employs Deleuzian film theory in a general consideration of the relationship between thought and film. Adrian Gargett, in his paper 'Nolan's Memento, Memory, and Recognition,' analyses Christopher Nolan's film Memento.

Dahmer 2002 filmic representation