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A Companion to Eastern European Cinemas

von
Imre, AnikóHrsg.
E-BookPDF2 - DRM Adobe / Adobe Ebook ReaderE-Book
544 Seiten
Englisch
John Wiley & Sonserschienen am07.08.20121. Auflage
A Companion to Eastern European Cinemas showcases twenty-five essays written by established and emerging film scholars that trace the history of Eastern European cinemas and offer an up-to-date assessment of post-socialist film cultures.
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 ?u?awski, and Karel Vachek amongst many othersmehr
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BuchGebunden
EUR62,50
E-BookPDF2 - DRM Adobe / Adobe Ebook ReaderE-Book
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Produkt

KlappentextA Companion to Eastern European Cinemas showcases twenty-five essays written by established and emerging film scholars that trace the history of Eastern European cinemas and offer an up-to-date assessment of post-socialist film cultures.
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 ?u?awski, and Karel Vachek amongst many others
Details
Weitere ISBN/GTIN9781118294345
ProduktartE-Book
EinbandartE-Book
FormatPDF
FormatFormat mit automatischem Seitenumbruch (reflowable)
Erscheinungsjahr2012
Erscheinungsdatum07.08.2012
Auflage1. Auflage
ReiheCNCZ - The Wiley-Blackwell Companions to National Cinemas
Seiten544 Seiten
SpracheEnglisch
Dateigrösse15694 Kbytes
Artikel-Nr.2771613
Rubriken
Genre9201

Inhalt/Kritik

Inhaltsverzeichnis
1;A Companion to Eastern European Cinemas;5
1.1;Contents;7
1.2;Notes on the Editor and Contributors;10
1.3;Foreword;17
1.4;1 Introduction: Eastern European Cinema From No End to the End (As We Know It);21
1.4.1;What Is and What (Really) Was Eastern European Cinema ?;24
1.4.2;First Intervention: Un-nationalizing Cinemas;27
1.4.3;Second Intervention: A Case for European (Post-)Socialism;31
1.4.4;Third Intervention: East European Cinema within Global Film Studies;36
1.4.5;Conclusion and Acknowledgments;39
1.4.6;Note;40
1.4.7;References;40
1.5;Part I New Theoretical and Critical Frameworks;43
1.5.1;2 Body Horror and Post-Socialist Cinema: György Pálfi s Taxidermia;45
1.5.1.1;References;59
1.5.2;3 El perro negro : Transnational Readings of Database Documentaries from Spain;61
1.5.2.1;The Way In;61
1.5.2.2;The Transnational Stage;62
1.5.2.3;The Spanish Context for Reading Documentaries;69
1.5.2.4;Re-Imagining Archival Histories;71
1.5.2.5;Tren de sombras (1997);72
1.5.2.6;La niebla en las palmeras (2005);74
1.5.2.7;El perro negro (2005);75
1.5.2.8;References;80
1.5.2.9;Further Reading;82
1.5.3;4 Did Somebody Say Communism in the Classroom? or The Value of Analyzing Totality in Recent Serbian Cinema;83
1.5.3.1;From Communism to Ethnic Nationalism;85
1.5.3.2;From Ethnic Nationalism to Neoliberalism;90
1.5.3.3;Conclusion;94
1.5.3.4;References;96
1.5.4;5 Laughing into an Abyss: Cinema and Balkanization;97
1.5.4.1;Notes;116
1.5.4.2;References;118
1.5.4.3;Further Reading;120
1.5.5;6 Jewish Identities and Generational Perspectives;121
1.5.5.1;Somewhere in Europe revisited;122
1.5.5.2;The Last Stop;125
1.5.5.3;István Szabó s Father : An Absent Generation;126
1.5.5.4;Related East European Production;128
1.5.5.5;Filmmaking after 1989: Generational Perspectives;129
1.5.5.6;Kertész, Spielberg, and Lanzmann;132
1.5.5.7;Documentary Filmmaking;134
1.5.5.8;Notes;139
1.5.5.9;References;142
1.5.5.10;Further Reading;144
1.5.6;7 Aftereffects of 1989: Corneliu Porumboiu s 12:08 East of Bucharest (2006) and Romanian Cinema;145
1.5.6.1;Context: Cinematic Reconfigurations of 1989;148
1.5.6.2;Understanding the Reception of 12:08 East of Bucharest in Romania: Was There, or Was There Not an Event?;150
1.5.6.3;The Question of Making and Saying an Event: Virtuality and Simulacrum;152
1.5.6.4;The Use of Language in 12:08;156
1.5.6.5;Post-national Pastiche and Cinematic Realism;161
1.5.6.6;Notes;165
1.5.6.7;References;165
1.5.7;8 Cinema Beyond Borders: Slovenian Cinema in a World Context;168
1.5.7.1;Slovenian Cinema as Small Cinema;169
1.5.7.2;When Small Means Invisible;174
1.5.7.3;Cinema of National Allegory: Damjan Kozole;176
1.5.7.4;Beyond the National in Small Cinema;179
1.5.7.5;Notes;184
1.5.7.6;References;184
1.6;Part II Historical and Spatial Redefinitions;187
1.6.1;9 Center and Periphery, or How Karel Vachek Formed a New Government;189
1.6.1.1;Major and Minor, Nonfiction and Fiction;190
1.6.1.2;From Center to Periphery;193
1.6.1.3;A Second Society;198
1.6.1.4;Afterword;200
1.6.1.5;Note;201
1.6.1.6;Filmography;201
1.6.1.7;Works Cited;202
1.6.2;10 The Polish Black Series Documentary and the British Free Cinema Movement;203
1.6.2.1;The Polish October Spring ;204
1.6.2.2;The Czarna Seria - Critical Social Documentaries in a Socialist State;205
1.6.2.3;Polish Documentary Film, The Thaw and the October Spring ;210
1.6.2.4;Polish documentary between East and West during the Cold War;211
1.6.2.5;Czarna seria and Free Cinema;216
1.6.2.6;Notes;219
1.6.2.7;References;219
1.6.2.8;Further Reading;220
1.6.3;11 Socialists in Outer Space: East German Film s Venusian Adventure;221
1.6.4;12 Red Shift: New Albanian Cinema and its Dialogue with the Old;222
1.6.4.1;Before the Fall;223
1.6.4.2;From Void to Void;229
1.6.4.3;After the Pyramid;232
1.6.4.4;The Old and the New;239
1.6.4.5;References;240
1.6.4.6;Further Reading;241
1.6.5;13 National Space, (Trans)National Cinema: Estonian Film in the 1960s;242
1.6.5.1;(Trans)National Cinema;243
1.6.5.2;National Space;248
1.6.5.3;Nation-Space: Back to the Past;250
1.6.5.4;Conclusion;254
1.6.5.5;Notes;255
1.6.5.6;References;259
1.6.6;14 For the Peace, For a New Man, For a Better World! Italian Leftist Culture and Czechoslovak Cinema, 1945-1968;263
1.6.6.1;Notes;279
1.6.6.2;References;281
1.7;Part III Aesthetic (Re)visions;287
1.7.1;15 The Impossible Polish New Wave and its Accursed Émigré Auteurs: Borowczyk, Pola?ski, Skolimowski, and ?u?awski;289
1.7.1.1;Introduction;289
1.7.1.2;The Impossible Polish New Wave;291
1.7.1.3;Generations of Exile and Accursed Auteurs;294
1.7.1.4;Borowczyk, Surrealism, and Eroticism;295
1.7.1.5;Pola?ski, Skolimowski, and the Polish Cinema of the Absurd;299
1.7.1.6;?u?awski and the Cinema of Expression;303
1.7.1.7;Conclusion;306
1.7.1.8;Notes;307
1.7.1.9;References;307
1.7.2;16 Documentary and Industrial Decline in Hungary: The Ózd Series of Tamás Almási;309
1.7.2.1;Notes;320
1.7.2.2;References;322
1.7.2.3;The Ózd series by Tamás Almási;322
1.7.3;17 Investigating the Past, Envisioning the Future: An Exploration of Post-1991 Latvian Documentary;323
1.7.3.1;Introduction;323
1.7.3.2;Latvia s Documentary Past;325
1.7.3.3;The 1990s and Beyond: A Phoenix Rising out of the Ashes;327
1.7.3.4;A Common Theme;336
1.7.3.5;Future Directions for Documentary;337
1.7.3.6;Notes;338
1.7.3.7;References;339
1.7.4;18 Eastern European Historical Epics: Genre Cinema and the Visualization of a Heroic National Past;342
1.7.4.1;Introduction;342
1.7.4.2;Genre;344
1.7.4.3;The Historical Epic;346
1.7.4.4;Eastern European Epics: Generic Conventions;349
1.7.4.5;Western Europe and the Ottoman Empire in Eastern European Epics;352
1.7.4.6;Eastern European Epics: Local Specificity of the Genre;353
1.7.4.7;Conclusion;358
1.7.4.8;Notes;359
1.7.4.9;References;361
1.7.4.10;Filmography;362
1.7.5;19 Nation, Gender, and History in Latvian Genre Cinema;364
1.7.5.1;⦠A Glimpse into the Launch â¦;365
1.7.5.2;⦠Genres of the Postcolonial Cinematic ImagiNation â¦;365
1.7.5.3;⦠Stalinist 1950s: Latvian Riflemen, Adventures, and Biopics;369
1.7.5.4;⦠Thaw, New Genres and Camerawork: Mediating the national â¦;371
1.7.5.5;⦠Film Adaptation, Literary Canon and National Memory â¦;373
1.7.5.6;⦠Soviet Latvian Detective â¦;377
1.7.5.7;⦠Freedom and Cinema â¦;378
1.7.5.8;Notes;381
1.7.5.9;Further Reading;381
1.7.6;20 A Comparative Study: Rein Raamat s Big Tõll and Priit Pärn s Luncheon on the Grass;383
1.7.6.1;The Problems of Context;384
1.7.6.2;Who Can Read between the Lines?;387
1.7.6.3;Rein Raamat s Big Tõll;388
1.7.6.4;Priit Pärn s Luncheon on the Grass;391
1.7.6.5;Notes;395
1.7.6.6;References;400
1.7.7;21 The Yugoslav Black Wave: The History and Poetics of Polemical Cinema in the 1960s and 1970s in Yugoslavia;401
1.7.7.1;Yugoslav History and Context;401
1.7.7.2;Black Wave Poetics;406
1.7.7.3;Transnational Trends and Connections;416
1.7.7.4;Notes;421
1.7.7.5;References;421
1.7.7.6;Further Reading;422
1.8;Part IV Industries and Institutions;423
1.8.1;22 Follow the Money - Financing Contemporary Cinema in Romania;425
1.8.1.1;Introduction;425
1.8.1.2;Domestic Financing - State System;427
1.8.1.3;Domestic Financing - Private Enterprise;435
1.8.1.4;International Funding;439
1.8.1.5;Conclusion;441
1.8.1.6;Notes;443
1.8.1.7;References;449
1.8.2;23 An Alternative Model of Film Production: Film Units in Poland after World War Two;451
1.8.2.1;What was a Film Unit?;452
1.8.2.2;Checks and Balances;457
1.8.2.3;Why Film Units in Poland?;459
1.8.2.4;Notes;462
1.8.2.5;References;462
1.8.3;24 The Hussite Heritage Film: A Dream for all Czech Seasons;464
1.8.3.1;Notes;476
1.8.3.2;References;479
1.8.3.3;Further Reading;480
1.8.4;25 International Co-productions as Productions of Heterotopias;481
1.8.4.1;Le Départ: Leaving for the West and Finding a Promised Land in Cinema;482
1.8.4.2;Birds, Orphans and Fools: Creating a Countercultural Enclave;489
1.8.4.3;The Test of Pilot Pirx : Producing an Other Space ;493
1.8.4.4;Conclusion;499
1.8.4.5;Notes;500
1.8.4.6;References;500
1.8.5;26 East is East? New Turkish Cinema and Eastern Europe;502
1.8.5.1;Turkey and Europe;503
1.8.5.2;A Brief History of Turkish Cinema;505
1.8.5.3;(Eastern) European Influences on Turkish Cinema;507
1.8.5.4;Financial Connections;510
1.8.5.5;Notes;513
1.8.5.6;References;513
1.9;Index;516mehr