The Routledge companion to European cinema:
Saved in:
| Other Authors: | , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
London ; New York
Routledge
2022
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| Series: | Routledge companions
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis Klappentext |
| Physical Description: | XVIII, 466 Seiten Illustrationen |
| ISBN: | 9781032136714 9780367461850 |
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CONTENTS List of figures Contributors x хи Introduction 1 PARTI A first dialogical cluster: European cinema speaking about Europe: Through explorations of sexualities, identities, migration and the crisis of modernity 13 1 Post-communist nostalgia in new Bulgarian cinema as a social critique: Mediated post-communist nostalgia Antonina Anisimovich 15 2 Slow Slippy: Still shite being Scottish? T2:Trainspotting and the ‘Scottish European’ Kyle Barrett 26 3 Beauty and historical understanding in Suspina and Cold War Louis Bayman 36 4 ‘Europe was built on blood’: Christian Petzold as a European filmmaker Cordula Boeking 49 5 Europe wounded? Politics of hope and resistance in Vincent Dieutre’s Orlando Ferito (2013) Tom Cuthbertson V 58
Contents 6 Lilting and the entangled temporalities of European cinema) MaoHui Deng 1 New ways of looking: The case of Maren Ade, Valeska Grisebach and Malgorzata Szumowska Owen Evans 8 The ebbs and flows of girlhood experience across European cinema Fiona Handyside and Danielle Hipkins 9 ‘Dream on princess’: Cultural value, gender politics and the Hungarian film canon through the documentary Pretty Girls Júlia Havas 67 76 85 96 10 European ecology-documentaries as performative exchange Susan Hayward 109 11 Following the flâneur Hulot in Playtime: Soundscapeof the new Paris Seda Öz 121 12 Agatas (filmmaking) girlfriends: The new wave of women directors in Catalonia Cristina Ruiz-Poveda Vera 133 13 The Bourne multiplicity: Quantum Europeanness in the Bourne films (2002-2016) Rob Stone 143 14 Noisy presences in contemporary European Cinema: Paris est une Jete: un film en 18 vagues Emilija Talijan 153 15 Gay male sex, carnai knowledge and realism in contemporary French cinema 163 Connor Winterton 16 Eden is West, Europe as a magic trick Cecilia Zoppelletto 171 PARTII A second dialogical cluster: Cinema and its industry, national transnationalisms: Actors, studios and cross-overs 17 Omar Sharif: A European Middle Eastern star Samar Abdel-Rahman vi 179 181
Contents 18 Weakened nationalism and thickened time: Interrogating the position of Kurdish cinema within European cinema discussions Özgür Çiçek 1 90 19 Whv small European film industries remake each other's successes: The case of the Low Countries Eduard Cuelenaere, Stijn Joye and Gertjan Willems 201 20 European collaboration after World War Two: A Tale of Five Cities (M. Tully, R. Marcelimi, W Staudte, G. von Cziffra, E. E. Reinert, 1948—1951) Hanja Dämon 210 21 A film ‘highly offensive to our nation’: Stanley Kubrick’s Paths of Glory (1957), censorship and militaristic representations of post-war Europe James Fenwick 219 22 Europe comes to Hollywood: The silent era, 1912—1927 Agata Frymus 232 23 The non-professional actor in European cinema Miguel Gaggiotti 243 24 The (cultural) politics of international co-production: Morocco and Europe 252 Will Higbee 25 British comedy in a foreign light: looking at the trope of British comedy through the lens of émigré filmmakers Anna Mdrtonfi 265 26 Corporate consolidation, artistic conservatism and the persistence of Hollywood: The European film industry, 2006—2020 Christopher Meir 274 27 ‘Boyish’ women and female soldiers: British gender disguise comedies between the world wars Chris O’Rourke 285 28 Fred Zinnemann: A Hollywood director who never leaves Europe John White 294 PART III A third dialogical cluster: European cinema and the myth of a unifying and pluralist Europe: Through explorations of borders, genres and histories vii 305
Contents 29 Framing fundamentalism in contemporary European film Kaya Davies Hayon 307 ЗО Gangster films reloaded: European values and the criminal spectre of late modernity Giuseppe Fidotta 316 31 Films at the intersection of Europe, the Balkans and transgender visibility: A sketch map Alex Forbes 326 32 Two-speed economic systems and bipolarity in the European Union: Frontier spaces inValeska Grisebach’s Western Luis Freijo 335 33 Film topography and national belonging: Elungarian Jewishness and the high mountains Gábor Gergely 345 34 Identity and belonging in the bordered spaces of Gatlif’s Indignados (2012) and Geronimo (2014) Tantsin Graves 357 35 Accented silences: The aesthetics of displacement in diasporic postYugoslav cinema Igor Krstič' 365 36 Resisting the traps of hegemony: Variation in contemporary German queer of color cinema Priscilla Layne and Ervin Malakaj 374 37 Lisbon on film, 1980—2020: Locating Europe Mariana Liz 38 ‘We live like swine and die like swine, because we mean nothing to each other’: The little person, the state and nationhood in contemporary Russian film Adelaide McGinity-Peebles 39 Family, memories and borders: Europe in the films of Stephan Komandarev Alaya Nedyalkova 385 394 404
Contents 40 Neoliberal authorship: Auteur theory and European art cinema in 2021 -The example of Paweł Pawlikowski 415 Joanna Rydzewska 41 Queer bodies and the death drive: Gender and sexuality in Italian giallo 428 Daniel Sheppard and Giuseppe Previtali 42 Political discourse and rhetoric: Challenging twenty-first-century populism in Chez nous/ This Is От Land 437 Jamie Nicholas Steele 43 Recovering memory, reasserting Europeanness: Modern Convivencia and Hispanotropicalism in Palm Trees in the Snow (2015) and Neck an (2014) 450 Marta F. Suarez Index /Įfiį
Routledge Companions Presenting new and diverse scholarship, this wide-ranging collection of 43 original chapters asks what European cinema tells us about Europe. The book engages with European cinema that attends to questions of European colonial, racialized and gendered power; seeks to decentre Europe itself (not merely its putative centres); and interrogate Europe’s various conceptualizations from a variety of viewpoints. It explores the broad, complex and heterogeneous community/ies produced in and by European films, taking in Kurdish, Hollywood and Singapore cinema as comfortably as the cinema of Poland, Spanish colonial films or the European gangster genre. Chapters cover numerous topics, including individual films, film movements, filmmakers, stars, scholarship, representations and identities, audiences, production practices, genres and more, all analysed in their context(s) so as to construct an image of Europe as it emerges from Europe’s film corpus. The Companion opens the study of European cinema to a broad readership and is ideal for students and scholars in film, European studies, queer studies and cultural studies, as well as historians with an interest in audio-visual culture, nationalism and transnationalism, and those working in language-based area studies. |
| adam_txt |
CONTENTS List of figures Contributors x хи Introduction 1 PARTI A first dialogical cluster: European cinema speaking about Europe: Through explorations of sexualities, identities, migration and the crisis of modernity 13 1 Post-communist nostalgia in new Bulgarian cinema as a social critique: Mediated post-communist nostalgia Antonina Anisimovich 15 2 Slow Slippy: Still shite being Scottish? T2:Trainspotting and the ‘Scottish European’ Kyle Barrett 26 3 Beauty and historical understanding in Suspina and Cold War Louis Bayman 36 4 ‘Europe was built on blood’: Christian Petzold as a European filmmaker Cordula Boeking 49 5 Europe wounded? Politics of hope and resistance in Vincent Dieutre’s Orlando Ferito (2013) Tom Cuthbertson V 58
Contents 6 Lilting and the entangled temporalities of European cinema) MaoHui Deng 1 New ways of looking: The case of Maren Ade, Valeska Grisebach and Malgorzata Szumowska Owen Evans 8 The ebbs and flows of girlhood experience across European cinema Fiona Handyside and Danielle Hipkins 9 ‘Dream on princess’: Cultural value, gender politics and the Hungarian film canon through the documentary Pretty Girls Júlia Havas 67 76 85 96 10 European ecology-documentaries as performative exchange Susan Hayward 109 11 Following the flâneur Hulot in Playtime: Soundscapeof the new Paris Seda Öz 121 12 Agatas (filmmaking) girlfriends: The new wave of women directors in Catalonia Cristina Ruiz-Poveda Vera 133 13 The Bourne multiplicity: Quantum Europeanness in the Bourne films (2002-2016) Rob Stone 143 14 Noisy presences in contemporary European Cinema: Paris est une Jete: un film en 18 vagues Emilija Talijan 153 15 Gay male sex, carnai knowledge and realism in contemporary French cinema 163 Connor Winterton 16 Eden is West, Europe as a magic trick Cecilia Zoppelletto 171 PARTII A second dialogical cluster: Cinema and its industry, national transnationalisms: Actors, studios and cross-overs 17 Omar Sharif: A European Middle Eastern star Samar Abdel-Rahman vi 179 181
Contents 18 Weakened nationalism and thickened time: Interrogating the position of Kurdish cinema within European cinema discussions Özgür Çiçek 1 90 19 Whv small European film industries remake each other's successes: The case of the Low Countries Eduard Cuelenaere, Stijn Joye and Gertjan Willems 201 20 European collaboration after World War Two: A Tale of Five Cities (M. Tully, R. Marcelimi, W Staudte, G. von Cziffra, E. E. Reinert, 1948—1951) Hanja Dämon 210 21 A film ‘highly offensive to our nation’: Stanley Kubrick’s Paths of Glory (1957), censorship and militaristic representations of post-war Europe James Fenwick 219 22 Europe comes to Hollywood: The silent era, 1912—1927 Agata Frymus 232 23 The non-professional actor in European cinema Miguel Gaggiotti 243 24 The (cultural) politics of international co-production: Morocco and Europe 252 Will Higbee 25 British comedy in a foreign light: looking at the trope of British comedy through the lens of émigré filmmakers Anna Mdrtonfi 265 26 Corporate consolidation, artistic conservatism and the persistence of Hollywood: The European film industry, 2006—2020 Christopher Meir 274 27 ‘Boyish’ women and female soldiers: British gender disguise comedies between the world wars Chris O’Rourke 285 28 Fred Zinnemann: A Hollywood director who never leaves Europe John White 294 PART III A third dialogical cluster: European cinema and the myth of a unifying and pluralist Europe: Through explorations of borders, genres and histories vii 305
Contents 29 Framing fundamentalism in contemporary European film Kaya Davies Hayon 307 ЗО Gangster films reloaded: European values and the criminal spectre of late modernity Giuseppe Fidotta 316 31 Films at the intersection of Europe, the Balkans and transgender visibility: A sketch map Alex Forbes 326 32 Two-speed economic systems and bipolarity in the European Union: Frontier spaces inValeska Grisebach’s Western Luis Freijo 335 33 Film topography and national belonging: Elungarian Jewishness and the high mountains Gábor Gergely 345 34 Identity and belonging in the bordered spaces of Gatlif’s Indignados (2012) and Geronimo (2014) Tantsin Graves 357 35 Accented silences: The aesthetics of displacement in diasporic postYugoslav cinema Igor Krstič' 365 36 Resisting the traps of hegemony: Variation in contemporary German queer of color cinema Priscilla Layne and Ervin Malakaj 374 37 Lisbon on film, 1980—2020: Locating Europe Mariana Liz 38 ‘We live like swine and die like swine, because we mean nothing to each other’: The little person, the state and nationhood in contemporary Russian film Adelaide McGinity-Peebles 39 Family, memories and borders: Europe in the films of Stephan Komandarev Alaya Nedyalkova 385 394 404
Contents 40 Neoliberal authorship: Auteur theory and European art cinema in 2021 -The example of Paweł Pawlikowski 415 Joanna Rydzewska 41 Queer bodies and the death drive: Gender and sexuality in Italian giallo 428 Daniel Sheppard and Giuseppe Previtali 42 Political discourse and rhetoric: Challenging twenty-first-century populism in Chez nous/ This Is От Land 437 Jamie Nicholas Steele 43 Recovering memory, reasserting Europeanness: Modern Convivencia and Hispanotropicalism in Palm Trees in the Snow (2015) and Neck an (2014) 450 Marta F. Suarez Index /Įfiį
Routledge Companions Presenting new and diverse scholarship, this wide-ranging collection of 43 original chapters asks what European cinema tells us about Europe. The book engages with European cinema that attends to questions of European colonial, racialized and gendered power; seeks to decentre Europe itself (not merely its putative centres); and interrogate Europe’s various conceptualizations from a variety of viewpoints. It explores the broad, complex and heterogeneous community/ies produced in and by European films, taking in Kurdish, Hollywood and Singapore cinema as comfortably as the cinema of Poland, Spanish colonial films or the European gangster genre. Chapters cover numerous topics, including individual films, film movements, filmmakers, stars, scholarship, representations and identities, audiences, production practices, genres and more, all analysed in their context(s) so as to construct an image of Europe as it emerges from Europe’s film corpus. The Companion opens the study of European cinema to a broad readership and is ideal for students and scholars in film, European studies, queer studies and cultural studies, as well as historians with an interest in audio-visual culture, nationalism and transnationalism, and those working in language-based area studies. |
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