Split screen : Belgian cinema and cultural identity
著者
書誌事項
Split screen : Belgian cinema and cultural identity
（SUNY series, cultural studies in cinema/video）
State University of New York Press, 2001
- : pbk
大学図書館所蔵 全4件
注記
Includes bibliographical references (p. 229-238) and index
内容説明・目次
内容説明
In presenting the first English language study of Belgian cinema, Split Screen explores the fascinating history of a cinema largely determined by linguistic division and beset by problems of cultural identity. This "split screen" characterizes the Belgian cinema, which has not received the critical praise that it deserves, despite the recent international successes of films like Toto the Hero, and the achievements of individual directors such as Henri Storck, André Delvaux, and Chantal Akerman. In surveying the evolution of Belgian cinema from its beginnings to the present day, Philip Mosley locates all the major feature films, describes the crucial intervention of the state in film production, and reveals undervalued Belgian traditions in documentary, in animation, in short films, and in a colonial cinema created partly by missionaries in the former Belgian Congo. Due to the political and economic transformations affecting Europe, the reforms of the Belgian state, and the increasing globalization of world media industries, Belgian cinema can now inscribe itself within new national and international contexts.
目次
List of Illustrations
Preface
Acknowledgments
1. Belgian Cinema and Cultural Identity
2. Beginnings to the Coming of Sound
3. Sound to Liberation, 1930-1945
4. The Postwar Period, 1945-1960
5. A New Era, 1960-1975
6. Reaction and Revival, 1975-
7. Belgian Cinema and the New Europe
Notes
Works Cited
Index
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