Moving images of exclusion: Persisting tropes in the filmic representation of European Roma

ABSTRACT

This paper analyses the most prominent tropes in the earliest and most recent filmic representations of Roma. Stereotypical images of Roma abound in many fictional features as well as documentaries, from the representation of Roma as eternal nomads to racially prejudiced depictions of Roma women and the alleged innateness of music to Roma. Because images and modes of representation change over time, the paper juxtaposes the earliest portrayals of Roma with those produced in the last 15 years. The analysis particularly centres on two dominant reoccurring tropes: types of spaces typically occupied by Roma in film, that is the lack of a place or so-called placeless-ness of Roma; the gendered other, or the Roma woman and the culturally and ethnically othered Roma musician. Ultimately, by analysing how these tropes have persisted in varying forms over 100 years, this work points to the filmic imagery that perpetuates antiziganism, but also how the same has changed over the years to offer possible counter-narratives.

KEYWORDS:

• Antigypsyism
• Roma
• film
• representation
• discrimination
• stereotypes

Disclosure statement

No potential conflict of interest was reported by the authors.

Notes

1. The EU Roma Summit, the Decade of Roma Inclusion 2005–2015, the EU Framework for National Roma Integration Strategies by 2020 and many projects by Roma and non-Roma activists have targeted the difficult political situation and living conditions of many Roma in Europe.

2. As a convention, we use ‘gypsy’ as a construct as opposed to ‘Gypsy’, a self-determining label. Accordingly, we use ‘Roma’ as a cultural construct.

3. We acknowledge that a future research paper might include a twentieth-century survey of film, including the Nazi-era films, followed by the rebirth of the New Wave as influenced by the student movement, and ending with the 90s film.

4. The International Romani Film Commission has been supporting Roma film projects since 2012, achieving an increased awareness for films and filmmakers, and providing for improved evaluation.

5. We use the term ‘Roma’ for members of extremely diverse groups as described by others, or for those who identify as Roma, ‘Gypsy’, ‘Gitano’, ‘Czigany’, ‘Zigeuner’, or otherwise; in doing so, we refer to the first World Romany Congress (1971), which condemned traditionally applied ethnic appellations and instead adopted ‘Roma’ as a self-chosen ethnonym.

We are aware that the term ‘Gypsy’ or its local translations remain a preferred mode of self-identification for some individuals and communities across Europe, and is the subject of much debate.

6. Concerning the debate around the terms such as ‘antiziganism’, ‘romaphobia’, ‘antiromaism’ or ‘racism against Roma’, see Markus End (2013). For the relations between antisemitism and antiziganism, see Wolfgang Wippermann (1997).

7. Own translation from the original title.

8. Own translation from the original title.

9. For the concept of the ‘cinema of attraction’, see Tom Gunning (1990).

10. The often romanticised depiction of ‘wandering gypsies’ neglects the fact that decrees and edicts passed by the European authorities as early as the fifteenth century limited the movement of Roma, preventing them from acquiring permanent residency and employment, and forcing many of them to be on the move. See Mohammad Hassan Gharaati (1996).

11. For the identification of ‘gypsies’ as ‘placeless strangers’ in German-language literature around 1800, see Claudia Breger (1998).

12. For the development of the stereotypical accusation of child abduction, see Stefanie Kugler (2008).

13. Translated from the intertitles.

14. Original German: ‘Habe ich böses getan? Vaterland? … Was ist Vaterland?’; our translation.

15. For further reading on the Heimat film, see Johannes von Moltke (2005).

16. Original German: ‘Ah Annerl – die Heimat’; our translation.

17. Despite Iron Picker’s fame, the protagonist, Nazif Mujic (Silver Bear for best actor), has seen no improvements in his living situation. See Sören Kittel (2017).

18. The director Toni Gatlif is still the only internationally known film-maker with a Romani background. He became renowned worldwide for his trilogy on the ‘Gypsy’ people: Les Princes (F 1983), Latcho Drom (F 1993), Gadjo Dilo (F 1997).

19. For the concept of Orientalism, see Edward Said (1978).

20. The iconic figure of the erotic ‘gypsy woman’, dancing for all to see, finds its dazzling resurgence in fiction films like the Walt Disney animated film Esmeralda (Gary Trousdale/Kirk Wise, USA 1996) or current horror films like Drag Me to Hell (Sam Raimi, USA 2009) or The Wolf Man (Joe Johnston, USA 2010) – and especially in current reality TV, such as My Big Fat Gypsy Wedding, Swapping Housewives for 'Gypsy' Figures in Reality TV. See Tremlett (2014).

21. Many thanks to Juliette Cherbuliez, University of Minnesota, for her valuable contributions.