A Companion to Eastern European Cinemas

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

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.

"Challenges outdated modes of examination, revealing Eastern European cinema's connection to European, transnational, and global media productions ... Summing Up: Highly recommended. Upper-division undergraduates and above." ( Choice, 1 July 2013)

" Imre's volume will doubtlessly prove to be an indispensible resource for scholars and educators alike, and one can only hope that the marvelous scholarship that abounds in the space of this volume will inspire further research into the cinema of the other Europ e." ( Film International , 5 December 2013)

"This is an extremely scholarly work which will be welcomed by dedicated students of Eastern European cinema and those seeking detailed source material on pre and post-Cold War East European cinema." ( Reference Reviews , 1 October 2013)

"Challenges outdated modes of examination, revealing Eastern European cinema s connection to European, transnational, and global media productions ... Summing Up: Highly recommended. Upper-division undergraduates and above." ( Choice, 1 July 2013)