East European cinemas
Author(s)
Bibliographic Information
East European cinemas
(AFI film readers)
Routledge, 2005
- : hardcover
- : softcover
Available at 5 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references and index
Description and Table of Contents
Description
Eastern Europe has produced rich and varied film cultures--Czech, Hungarian, and Serbian among them-whose histories have been intimately tied to the transition from Soviet domination to the complexities of post-Communist life. This latest volume in the AFI Film Readers series presents a long-overdue reassessment of East European cinemas from theoretical, psychoanalytic, and gender perspectives, moving the subject beyond the traditional area studies approach to the region's films. This ambitious collection, situating Eastern Europe's many cinemas within global paradigms of film study, will be an essential work for all students of cinema and for anyone interested in the relation of film to culture and society.
Table of Contents
Anik Imre, Introduction: East European Cinemas in New Perspectives PART 1: Gender Identity and Representation 1. Katarzyna Marciniak, Second Worldness and Transnational Feminist Practices: Agnieszka Holland's A Woman Alone 2. Marguerite Waller, What's in Your Head: 'History' and 'Nation' in Ibolya Fekete's Bolse vita and Ghetto Art's Making the Walls Come Down 3. Tomislav Z. Longinovic, Playing the Western Eye: Balkan Masculinity and Post-Yugoslav-War Cinema 4. El?bieta H. Oleksy, The Politics of Representing Gender in Post-World War II Polish Cinema and Visual Art 5. Petra Hanakova, Voices from Another World: Feminine Space and Masculine Intrusion in Sedmikrasky and Vrazda ing. Certa. PART 2: (Post)modernist Continuities 6. Melinda Szaloky, Somewhere in Europe: Exile and Orphanage in Post-World War II Hungarian Cinema 7. Dusan Bjelic, Global Aesthetics and the Serbian Cinema of the 1990s 8. Catherine Portuges, Traumatic Memory, Jewish Identity: Remapping the Past in Hungarian Cinema 9. Peter Hames, The Ironies of History: The Czech Experience 10. Andras Balint Kovacs, Gabor Body: Precursor of the Digital Age 11. Agnes Pethoe, Chaos, Intermediality, Allegory: The Cinema of Mircea Daneliuc PART 3: Regional Visions 12. KrissRavetto-Biagioli, Reframing Europe's Double Border 13. Roumiana Deltcheva, Reliving the Past in Recent East European Cinemas 14. Christina Stojanova, Fragmented Discourses: Young Cinema from Central and Eastern Europe 15. Dina Iordanova, The Cinema of Eastern Europe: Strained Loyalties, Elusive Clusters
by "Nielsen BookData"