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 u³awski, and Karel
Vachek amongst many others
Table of Content
Notes on the Editor and Contributors viii
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
About the author
Anikó Imre is an Associate Professor of Critical
Studies at University of Southern California School of Cinematic
Arts. Her books include East European Cinemas (2005);
Transnational Feminism in Film and Media (co-authored with
Katarzyna Marciniak and Áine O’Healy, 2007); Identity
Games: Globalization and the Transformation of Media Cultures in
the New Europe (2009); and Popular Television in Eastern and
Southern Europe (co-authored with Timothy Havens and Kati
Lustyik, 2011). She is also co-editor of the Global Cinemas
book series.
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