دانلود کتاب A Companion to Eastern European Cinemas

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 culturesFeatures consideration of lesser known areas of study, such as Albanian and Baltic cinemas, popular genre films, cross-national distribution and aesthetics, animation and documentaryPlaces the cinemas of the region in a European and global contextResists the Cold War classification of Eastern European cinemas as “other” art cinemas by reconnecting them with the main circulation of film studiesIncludes discussion of such films as Taxidermia, El Perro Negro, 12:08 East of Bucharest Big Toll, and Breakfast on the Grass and explores the work of directors including Tamas Almasi, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej uawski, and Karel Vachek amongst many othersContent: Chapter 1 Introduction (pages 1–21): Aniko ImreChapter 2 Body Horror and Post?Socialist Cinema (pages 25–40): Marsha KinderChapter 3 El perro negro (pages 41–62): Marsha KinderChapter 4 Did Somebody Say Communism in the Classroom? (pages 63–76): Zoran SamardzijaChapter 5 Laughing into an Abyss (pages 77–100): Kriss Ravetto?BiagioliChapter 6 Jewish Identities and Generational Perspectives (pages 101–124): Catherine PortugesChapter 7 Aftereff ects of 1989 (pages 125–147): Alice BardanChapter 8 Cinema Beyond Borders (pages 148–166): Meta Mazaj and Shekhar DeshpandeChapter 9 Center and Periphery (pages 169–182): Alice LovejoyChapter 10 The Polish Black Series Documentary and the British Free Cinema Movement (pages 183–200): Bjorn SorenssenChapter 11 Socialists in Outer Space (pages 201–223): Stefan SoldovieriChapter 12 Red Shift (pages 224–243): Bruce WilliamsChapter 13 National Space, (Trans)National Cinema (pages 244–264): Eva NaripeaChapter 14 For the Peace, For a New Man, For a Better World! (pages 265–287): Francesco PitassioChapter 15 The Impossible Polish New Wave and its Accursed Emigre Auteurs (pages 291–310): Michael GoddardChapter 16 Documentary and Industrial Decline in Hungary (pages 311–324): John CunninghamChapter 17 Investigating the Past, Envisioning the Future (pages 325–343): Maruta Z. VitolsChapter 18 Eastern European Historical Epics (pages 344–365): Nikolina DobrevaChapter 19 Nation, Gender, and History in Latvian Genre Cinema (pages 366–384): Irina NovikovaChapter 20 A Comparative Study (pages 385–402): Andreas TrossekChapter 21 The Yugoslav Black Wave (pages 403–424): Greg De CuirChapter 22 Follow the Money (pages 427–452): Ioana UricaruChapter 23 An Alternative Model of Film Production (pages 453–465): Dorota OstrowskaChapter 24 The Hussite Heritage Film (pages 466–482): Petra HanakovaChapter 25 International Co?productions as Productions of Heterotopias (pages 483–503): Ewa MazierskaChapter 26 East is East? (pages 504–517): Melis Behlil