Fictional representations of Romani people

Many fictional depictions of the Romani in literature and art present Romanticized narratives of their supposed mystical powers of fortune telling, and their supposed irascible or passionate temper paired with an indomitable love of freedom and a habit of criminality. Critics of how Romani people have been portrayed in popular culture point out similarities to portrayals of Jewish people, with both groups stereotyped negatively as wandering, spreading disease, abducting children, and violating and murdering others.

Romani people were portrayed in Victorian and modern British literature as having "sinister occult and criminal tendencies" and as associated with "thievery and cunning", and in English Renaissance and baroque theatre as incorporating "elements of outlandish charm and elements which depict [them] as the lowest of social outcasts," connected with "magic and charms," and "juggling and cozening." In opera, literature and music, throughout Europe, Romani women have been portrayed as provocative, sexually available, gaudy, exotic and mysterious. Hollywood and European movies, as well as popular music and other forms of pop culture, have promoted similar stereotypes.

Particularly notable representations of Romani people appear in classics like Carmen by Prosper Mérimée and adapted by Georges Bizet, Victor Hugo's The Hunchback of Notre-Dame and Miguel de Cervantes' La Gitanilla. The Romani were also heavily romanticized in the Soviet Union, a classic example being the 1975 Tabor ukhodit v Nebo. A more realistic depiction of contemporary Romani in the Balkans, featuring Romani lay actors speaking in their native dialects, although still playing with established clichés of a Romani penchant for both magic and crime, was presented by Emir Kusturica in his Time of the Gypsies (1988) and Black Cat, White Cat (1998). Another realistic depiction of Romanies in Yugoslavia is I Even Met Happy Gypsies (1967).

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