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A diverse set of cinema-related questions, including the economic relations and political conflicts of Eastern and Western Europe, the cultural dis integration of different regions, internal and external migration, transnational mobility, human trafficking, among other topical issues raised in the book, makes the collection a highly original one within the field of European cinema studies. Due to the very nature of edited volumes on transnational cinemas, this collection of essays is extremely broad in its scope, encompassing discussions on Austrian, Balkan, British, Bulgarian, Estonian, French-Armenian, German, Greek, Lithuanian, Polish, and Romanian films.
The geography of the book evidently exceeds the usual focus on post-Soviet and post-socialist cinemas. Besides the discussions of films from Eastern and Central Europe, the collection includes essays on films from Western European countries that also reflect post changes in Europe.
Naturally, such a wide corpus of films brings together an extensive range of authors, whose eighteen contributions explore the significance of a variety of possible cinematic assessments of contemporary Eastern and Central Europe. The volume begins with several essays exploring films about changing borderlines between Eastern and Western Europe in the twenty-first century.
Highlighting contrasting models of European feminism, the author demonstrates that the aforementioned films question the liberating effects of mobility in the borderless Europe. Paradoxically, as Van Heuckelom points out, by portraying a cinematic road trip through the continent of post-Berlin Wall Europe, Baier displaces Switzerland from the centre of attention, while simultaneously trying to save it from its political isolation. The chapters of the first section of the volume debunk one-sided East-to-West integration by taking into account various issues related to the multi-directional lines of movement in present-day Europe.
Taken together, these articles lead us to consider how contemporary European films articulate a more complex understanding of a New Europe that is defined by more factors than the mere expansion of the EU towards the post-communist countries of Eastern Europe, and in which clear geographical, cultural and economic borders and walls have fallen and mobility has become the norm.
Crossing the Wall : The Western Feature Film Import in East Germany - ohosusajah.tk
The second section of the book examines marginal spaces, especially as they apply to peripheral economic regions of Europe. Attenberg Athina Rachel Tsangari, The Estonian film historian reviews the advantages and disadvantages of international co-operation and film financing through the analysis of select Estonian film co-production cases.
Poster for The Gambler Ignas Jonynas, In the last chapter of the section, Danica Jenkins and Kati Tonkin analyse the representation of the Balkans in transnationally co-produced films by Balkan-born directors, as well as in Welcome to Sarajevo , a British production directed by Michael Winterbottom. It is by no means possible to disregard the legacy of the communist past in thinking about Eastern and Central Europe. The essays pose questions like: what experiences of communist history can contemporary films generate?
What can films tell us about the past in the present?
Explaining Eastern Europe: Imitation and Its Discontents
And how do certain representations of Europe deployed in post cinema reveal or counter traditional representations of the past? Each of the five essays on cinematic reflections of the legacy of the Communist past presents a perspective coming from a different European country.
As the author argues, the strategy of comic de-dramatisation, with an orientation towards the lives of ordinary people, is only possible in a new Poland that has finally acquired a critical distance from its communist past.
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These two essays explore a shift in the cinematic portrayal of the GDR in contemporary works that, unlike the films of the early s, interpret the country in more open, multifaceted ways. Hodgin discusses the complex image of the East Germans, who are narratively placed in a position of choice: to stay or to leave the GDR. Through the analysis of the film, Mai demonstrates the limits of ideological and national identification in relation to a divided landscape of the Soviet past dealing with different presents.
The author places DEFA films alongside the international films exhibited in the GDR and argues that film in East Germany was actually more transnational in character than previously thought. Based on newly available archive material, [Stott] explores the cultural policy surrounding the import of West German, American and British feature film in the Honecker era, including their reception.
She argues that East German audiences were neither isolated from the Western media, nor were Western products their sole source of entertainment, rather that foreign and domestic media existed in 'contrasted dialogue'. Help Centre. Track My Order. My Wishlist Sign In Join. Be the first to write a review.
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