The Reception of Roma Cultural Codes in Contemporary Cinema

Abstract

Introduction. The article addresses the reception of cultural codes of Roma (Gypsy) culture in fictional cinema of the twentieth and twenty-first centuries. Cinema is considered not only as an artistic practice but also as a powerful mechanism for constructing social representations and shaping the image of the “Other.” Historically, cinematic portrayals of Roma communities have been deeply influenced by literary archetypes and mythological narratives, resulting in persistent stereotypes oscillating between romantic exoticization and social marginalization. In the contemporary context of increasing attention to cultural diversity, inclusion, and anti-discrimination discourse, a critical analysis of such representations becomes particularly relevant. Content. The research is based on an interdisciplinary methodological framework combining cultural studies, semiotics, film studies, and social anthropology. The analysis draws on the concept of cultural codes as systems of stable symbols and narrative structures through which cultural identity is articulated and interpreted. A comparative textual and visual analysis of selected films by Emir Kusturica and Tony Gatlif is conducted, supplemented by the examination of recent European films representing a shift toward social realism. The study also engages with theoretical perspectives developed by Y. Lotman and R. Barthes to interpret processes of mythologization and secondary signification.The study identifies several key cultural codes of Roma culture recurrently represented in cinema: Law (Romanipe), the Tabor (nomadic way of life), Music and Dance, and Gold. It demonstrates that mainstream cinema predominantly relies on a dualistic representational model portraying Roma either as romanticized “noble savages” or as dangerous social outsiders. The films of Emir Kusturica exemplify a mythologizing and exoticizing approach rooted in external observation, while the works of Tony Gatlif offer a more ethnographically grounded and internally oriented perspective. Contemporary films increasingly challenge mythological representations by addressing social realities such as poverty, discrimination, and historical trauma. Conclusions. Despite recent tendencies toward demythologization and social realism, stereotypical representations of Roma culture remain dominant in mass cinema. Cultural codes transform slowly, and cinematic narratives continue to favor spectacular and exotic imagery over everyday realities. The article concludes that the development of Roma self-representation in cinema is a crucial condition for overcoming entrenched stereotypes and for fostering a more nuanced and respectful intercultural dialogue.