"Today´s political leaders should not overestimate Europe´s capacity to show empathy for the suffering of others". Constantin Parvulescu, researcher within the ‘Emotional Culture and Identity' Project of the Institute for Culture and Society of the University of Navarra, delivered these remarks in connection with the publication of his new book, ‘Orphans of the East '.

In this book, Parvulescu traces the way in which cinema envisioned and debated the condition of the post-World War II subject and the "new man" of Soviet-style communism. In these films, the orphan becomes a cinematic trope that interrogates socialist visions of ideological institutionalization and re-education and stands as a silent critic of the system's shortcomings or as a resilient spirit who has resisted capture by the political apparatus of the new state.

What are the general conclusions of ‘Orphans of the East'?

There is such a thing as an Eastern European experience of socialism, homemade, specific of exploited and underdeveloped countries caught between superpowers. This experience has produced insightful films that bear insightful testimonies to the dreams, the passions, the successes and the failures of the twentieth century (socialist or not). These films functioned as alternative public spheres, hosting debates on the how the development of the region contributed to the liberation of the consciousness of its subjects.

Which conclusions can we find in the book about how the political situation in those years?

The book reminds readers that socialism was first and foremost about subject production and that it placed liberation of consciousness at the center of its interests. Everything else from planned economy to propaganda was subservient to this goal. Once socialism lost sight of its main goal, it turned into something else, and this is how the oppressive and elitist aspects of socialist regimes came into being.

Do you think that cinema presents a good opportunity to show the postwar situation in East Europe?

Yes. In fact, few people would look at these films otherwise than as testimonies to their times (which doesn't mean they were not beautifully crafted). Cinema can show us how the socialist subject looked, spoke, moved and felt. There is as much ideology in dress code, everyday vocabulary, corporal presence and emotions as it is in speeches of communist party leaders. Thus film studies complete the work done by researchers who work with traditional archives. Moreover, we should not forget that cinema was the darling medium of the working class. Eastern European regimes, at least on paper, belonged to the workers and thus the cinema remained an important medium of political communication in these countries until 1989. 

4- In your book, why do you choose the figure of the orphan to analyze this situation?

The trope of the orphan is an insightful point of entry into a discussion about subject production. As child of the state, with severe family ties, the orphan stands at the center of the revolution. Cinematic presentations of orphans show the way in which, at certain moments in history, the socialist state and its public envisioned and debated the topic of the new human of socialism. 

Do you think that this situation showed in the films has taught Europe something about how we could avoid making the same mistakes?

Since World War II and until 1989, Eastern and Western Europe have lived in a process of negative symbiosis. The mistakes (and crimes) of the socialist state have been widely discussed in the West (see the long-lasting discussion on totalitarianism and human rights) and their rejection produced landmarks of Western European identity. After 1989, things have changed. Time has come for Europe to learn no longer from the mistakes of Eastern European state socialism, but also from its achievements, or at least form what it pretended it tried to achieve. And one important thing is utopian emancipatory thinking. Europe needs it. 

Nowadays, Europe is suffering one of the biggest migration crisis since World War II.  Which lessons have we learnt about managing a refugee´s crisis?

After World War II, Polish or Czechoslovak Jews returning home from death camps were not welcomed by the people who used to be their co-citizens, though they were the victims of the most horrific apparatus of biopolitical control the human mind has ever designed. Self-pity, fear and economic reasons stood beyond this rejection. Capitalism is predicated upon self interest. Today´s political leaders should not overestimate Europe´s capacity to show empathy for the suffering of others. European leaders should design their policies accordingly, taking into account the reality of the political and emotional landscape they exist in.