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Abstract
Early socialism from the second half of 19th century Romania is experiencing a systematic comeback among historians and social scientists. The works of Constantin Dobrogeanu-Gherea, the founding father of Romanian Marxism, occupy a central place in this newfound attention towards the origins and struggles of socialism in Romania. This paper addresses Gherea's interpretation of anarchism on par with his doctrine of 'legal socialism'. Its purpose is to prove how anarchism acts as a more than tactical catalyzer for legal socialism, placing the latter not necessarily on a new ideological perspective, but further on the terrain of Romanian political status-quo of late 19th and early 20th century Romania. Although more principled than tactical, Gherea's repudiation of anarchism in progressively unsubstantial Marxist terms has also led to tactical shortcomings. This was the case of the first Romanian socialist party, which was dissolved and absorbed after only six years of existence within the ascending liberal party.

Our article focuses on an instance of cross-media content convergence in state-socialist cultural economies. We deliver a cultural studies intervention addressing the hybrid nature of the cultural economies of the former Soviet Bloc. We show that this instance of convergence was not the effect of a top-down imposition of a policy of state-socialist power, but rather a bottom-up phenomenon, triggered by artistic and economic interests and more specific to capitalism. These interests respond to consumer demand, competition, and box-office success. We borrow the concept of convergence from the writings of Henry Jenkins. Our case study explores a synergy of content between cinema and rock music in 1970s Romania, generating evidence by means of close readings and exploration of reception and production information. Under scrutiny are the adventure film The Immortals (Sergiu Nicolaescu, Romania, 1975) and the music and public presentation of the Romanian band Phoenix. We argue that the inclusion of Phoenix's music in the soundtrack of the film is a key testimony to bottom-up convergence, marking a synergy of discourses that independently developed the same story universe. We show that this synergy took place because the two discourses had the potential to boost each other's artistic and economic performance.

Drawing from the latest findings in Romanian archives and also from recent works in Romanian historiography, beside several important international bibliographic resources, this essay is centered around the Sino-Soviet conflict and its immediate aftermath in the communist world from three major perspectives, already announced in the title: development, security and strategy.