Acknowledgements; Introduction, Christina Stojanova; Part I. Modernism/ Minimalism; 1: Beyond Modernity: The Stylistic Divide and the New Romanian Cinema, Dominique Nasta; 2: Minimalism in the New Romanian Cinema: Absent, Omnipresent or Misjudged? Ioana Trocan; 3: No Melo – Minimalism and Melodrama in New Romanian Cinema, Ioana Uricaru; Part II. Intermediality/ Intertextuality; 4: ‘Exhibited Space’ and Intermediality in the films of Corneliu Porumboiu, Ágnes Peth?; 5: Filming the Camera: Reflexivity and Reenactment in Lucian Pintilie’s Reconstruction (1969 and Niki and Flo (2003), Katalin Sándor; 6: Ephemeral History and Enduring Celluloid: Cinematic Reality and Theatricality in Nae Caranfil’s Films, Melinda Blos-Jáni; 7: Remediation and Minimalism in New Romanian Cinema: The Example of Cristi Puiu, Liviu Lutas; Part III. Ethics/ New Aesthetics; 8: Authenticity in New Romanian Cinema: ‘Ethics and Aesthetics are One’, Christina Stojanova; 9: The Square and the Screen: The Ethical Dimension of the New Romanian Cinema, Ioana Uricaru; 10: Cristian Mungiu’s Beyond the Hills and Austerity Politics, Kalling Heck; Part IV: Gender/ Genre; 11: Woman Films: Body and Will, Dana Duma; 12: Traces of Genre in New Romanian Cinema: A Narrow Path for a Small Entity, Andrea Virginas; Part V: National/Place and Transnational/Space; 13: Kitchen Encounters: Scenes of Face to Face Dialogues in Films of the New Romanian Cinema, Mircea Deaca; 14: New Romanian Cinema: Geography and Identity, Marian ?u?ui and Raluca Iacob; 15: The ‘Transnational Turn’: New Urban Identities and the Transformation of Contemporary Romanian Cinema, Doru Pop; Part VI: Historical Overview of Romanian Cinema, Christina Stojanova; Combined Bibliography; New Romanian Cinema Filmography, Raluca Iacob; General Filmography, Raluca Iacob; Notes on Contributors; Index