Description
A Companion to Eastern European Cinemas
Wiley Blackwell Companions to National Cinemas Series
Coordinator: Imre Anikó
Language: English544 p. · 18x25.4 cm · Hardback
Description
/li>Contents
/li>Biography
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- Showcases critical historical work and up-to-date assessments of post-socialist film cultures
- Features consideration of lesser known areas of study, such as Albanian and Baltic cinemas, popular genre films, cross-national distribution and aesthetics, animation and documentary
- Places the cinemas of the region in a European and global context
- Resists the Cold War classification of Eastern European cinemas as ?other? art cinemas by reconnecting them with the main circulation of film studies
- Includes discussion of such films as Taxidermia, El Perro Negro, 12:08 East of Bucharest Big Tõll, and Breakfast on the Grass and explores the work of directors including Tamás Almási, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej ¯u³awski, and Karel Vachek amongst many others
Foreword xv
Dina Iordanova
1 Introduction: Eastern European Cinema From No End to the End (As We Know It) 1
Anikó Imre
Part I New Theoretical and Critical Frameworks 23
2 Body Horror and Post-Socialist Cinema: György Pálfi’s Taxidermia 25
Steven Shaviro
3 El perro negro : Transnational Readings of Database Documentaries from Spain 41
Marsha Kinder
4 Did Somebody Say Communism in the Classroom? or The Value of Analyzing Totality in Recent Serbian Cinema 63
Zoran Samardzija
5 Laughing into an Abyss: Cinema and Balkanization 77
Kriss Ravetto-Biagioli
6 Jewish Identities and Generational Perspectives 101
Catherine Portuges
7 Aftereffects of 1989: Corneliu Porumboiu’s 12:08 East of Bucharest (2006) and Romanian Cinema 125
Alice Bardan
8 Cinema Beyond Borders: Slovenian Cinema in a World Context 148
Meta Mazaj and Shekhar Deshpande
Part II Historical and Spatial Redefinitions 167
9 Center and Periphery, or How Karel Vachek Formed a New Government 169
Alice Lovejoy
10 The Polish Black Series Documentary and the British Free Cinema Movement 183
Bjørn Sørenssen
11 Socialists in Outer Space: East German Film’s Venusian Adventure 201
Stefan Soldovieri
12 Red Shift: New Albanian Cinema and its Dialogue with the Old 224
Bruce Williams
13 National Space, (Trans)National Cinema: Estonian Film in the 1960s 244
Eva Näripea
14 For the Peace, For a New Man, For a Better World! Italian Leftist Culture and Czechoslovak Cinema, 1945–1968 265
Francesco Pitassio
Part III Aesthetic (Re)visions 289
15 The Impossible Polish New Wave and its Accursed Émigré Auteurs: Borowczyk, Polañski, Skolimowski, and ¯u³awski 291
Michael Goddard
16 Documentary and Industrial Decline in Hungary: The “Ózd Series” of Tamás Almási 311
John Cunningham
17 Investigating the Past, Envisioning the Future: An Exploration of Post-1991 Latvian Documentary 325
Maruta Z. Vitols
18 Eastern European Historical Epics: Genre Cinema and the Visualization of a Heroic National Past 344
Nikolina Dobreva
19 Nation, Gender, and History in Latvian Genre Cinema 366
Irina Novikova
20 A Comparative Study: Rein Raamat’s Big Tõll and Priit Pärn’s Luncheon on the Grass 385
Andreas Trossek
21 The Yugoslav Black Wave: The History and Poetics of Polemical Cinema in the 1960s and 1970s in Yugoslavia 403
Greg De Cuir, Jr .
Part IV Industries and Institutions 425
22 Follow the Money – Financing Contemporary Cinema in Romania 427
Ioana Uricaru
23 An Alternative Model of Film Production: Film Units in Poland after World War Two 453
Dorota Ostrowska
24 The Hussite Heritage Film: A Dream for all Czech Seasons 466
Petra Hanáková
25 International Co-productions as Productions of Heterotopias 483
Ewa Mazierska
26 East is East? New Turkish Cinema and Eastern Europe 504
Melis Behlil
Index 518