Popular cinemas in East Central Europe :: film cultures and histories /
The continued interest in the social and cultural life of the former Warsaw pact countries - looking at but also beyond their socialist pasts - encompasses a desire to know more about their national cinemas. Yet, despite the increasing consumption of films from these countries - via DVD, VOD platfor...
Gespeichert in:
| Weitere Verfasser: | , , |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
London :
I.B. Tauris & Co. Ltd,
2017.
|
| Schriftenreihe: | International library of the moving image ;
40. |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | The continued interest in the social and cultural life of the former Warsaw pact countries - looking at but also beyond their socialist pasts - encompasses a desire to know more about their national cinemas. Yet, despite the increasing consumption of films from these countries - via DVD, VOD platforms and other alternative channels - there is a lack of comprehensive information on this key aspect of visual culture. This important book rectifies the glaring gap and provides both a history and a contemporary account of East Central European cinema in the pre-WW2, socialist, and post-socialist pe. |
| Beschreibung: | 1 online resource : illustrations |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9781786722393 1786722399 |
Internformat
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| 245 | 0 | 0 | |a Popular cinemas in East Central Europe : |b film cultures and histories / |c edited by Dorota Ostrowska, Francesco Pitassio and Zsuzsanna Varga. |
| 264 | 1 | |a London : |b I.B. Tauris & Co. Ltd, |c 2017. | |
| 264 | 4 | |c ©2017 | |
| 300 | |a 1 online resource : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 1 | |a International library of the moving image ; |v 40 | |
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Online resource; title from PDF title page (EBSCO, viewed September 11, 2017). | |
| 520 | |a The continued interest in the social and cultural life of the former Warsaw pact countries - looking at but also beyond their socialist pasts - encompasses a desire to know more about their national cinemas. Yet, despite the increasing consumption of films from these countries - via DVD, VOD platforms and other alternative channels - there is a lack of comprehensive information on this key aspect of visual culture. This important book rectifies the glaring gap and provides both a history and a contemporary account of East Central European cinema in the pre-WW2, socialist, and post-socialist pe. | ||
| 505 | 0 | |a Cover; Author bio; Endorsement; Title page; Copyright information; Table of contents; Figures; Graphs; Tables; List of contributors; Acknowledgements; A Note on Naming Conventions; Introduction; Part I Politics of Popular Cinema in the Interwar Period; 1 Czech Historical Film and Historical Traditions; Historical Narratives Shaping The Merry Wives; The Merry Wives: A Comedy Taking a Political Stance; Conclusion; Notes; 2 Starlets and Heart-throbs; Glamour Comedies and the Rise of the Male Stars; Turning Toward Melodrama: The Film Industry From 1936 Onwards; Conclusion; Notes | |
| 505 | 8 | |a Part II Towards Socialism: Continuities and Ruptures3 The Stripping of His Charms; The Star Lead; The Transformed Lead; The Resisting Lead; Conclusion; Notes; 4 Transformations; From the Commercial Film Industry to the State-Owned Cinema Culture; Hungarian Cinema for the Millions; From Socialist Realist Operettas to Satirical Comedies; Crime Cinema During Socialism: Mission Impossible?; From the Precursors of the Present to Historical Adventure; Conclusion; Notes; 5 Postwar Czechoslovak Comedy The Autonomisation of Parody, and Lemonade Joe (1964) | |
| 505 | 8 | |a Comedy in the Political History of Czechoslovak CinemaIndustrial Authorship and Group Styles in the State-Socialist Production System; Lemonade Joe: Paradoxical Historicity of Czech Film Parody; Autonomisation of Parody; Conclusion; Notes; Part III Socialist Film Cultures; 6 How To Be Loved? Three Takes on 'The Popular' in Socialist and Non-Socialist Cinema; 'Serious', 'Unserious', 'Art Cinema' and the 'Epic'; Kitsch and Realism; Notes; 7 'Humanist Screens': Foreign Cinema in Socialist Poland (1945-56); Humanist Screens and Mass Audiences; 1949: When Films Were Not Socialist Realist Enough | |
| 505 | 8 | |a 1951: Cinema Should Educate Rather Than Entertain1955: Genre Isn't So Bad After All; The General Public: Humanist Screens' Spectators; Conclusion; Notes; 8 Poland's Wild West and East; Lonely Heroes, Settlers and Gunslingers: How The Polish West Was Won; Defending the East: Soldiers and Rezuny; Conclusion; Notes; 9 Film in Full Gallop; Notes; 10 The Czechoslovak-East German Co-production Tři oříšky pro Popelku/Drei Haselnüsse für Aschenbrödel/Three Wishes ... ; Popularity With Two National Audiences; Children's Films at Barrandov and DEFA: A Temporary Reconciliation of Production Concepts | |
| 505 | 8 | |a Cinderella, a Transnational CharacterConclusion; Acknowledgement; 11 The Paradox of Popularity; Introduction; Popular Film and the Politics of Power; Popular Film and the Politics of Auteurs; After 1968; The Case of the Crime Movie; The vulture; Conclusion; Notes; Part IV Out of Socialism: Co-habiting Models of Popular Cinema; 12 Popular Nostalgia; Notes; 13 The Power of Love; Heritage cinema: the (un)certainties of the past; Melodrama: Historical Trauma as an Affect; Romantic Comedy: Modernity Domesticated; Conclusion; 14 When Walls Fall; Notes | |
| 650 | 0 | |a Motion pictures |z Europe, Central |x History |y 20th century. | |
| 650 | 0 | |a Motion pictures |z Europe, Eastern |x History |y 20th century. | |
| 650 | 6 | |a Cinéma |z Europe centrale |x Histoire |y 20e siècle. | |
| 650 | 6 | |a Cinéma |z Europe de l'Est |x Histoire |y 20e siècle. | |
| 650 | 7 | |a PERFORMING ARTS |x Reference. |2 bisacsh | |
| 650 | 7 | |a Motion pictures |2 fast | |
| 651 | 7 | |a Central Europe |2 fast | |
| 651 | 7 | |a Eastern Europe |2 fast | |
| 648 | 7 | |a 1900-1999 |2 fast | |
| 655 | 7 | |a History |2 fast | |
| 700 | 1 | |a Pitassio, Francesco. | |
| 700 | 1 | |a Varga, Zsuzsanna. | |
| 700 | 1 | |a Ostrowska, Dorota, |d 1973- |e editor. |1 https://id.oclc.org/worldcat/entity/E39PCjKTmjHhYJXgTqdfPH6cWC |0 http://id.loc.gov/authorities/names/nr2003022777 | |
| 700 | 1 | |a Pitassio, Francesco, |e editor. |0 http://id.loc.gov/authorities/names/n2001029960 | |
| 700 | 1 | |a Varga, Zsuzsanna, |e editor. |0 http://id.loc.gov/authorities/names/no94006537 | |
| 758 | |i has work: |a Popular cinemas in East Central Europe (Text) |1 https://id.oclc.org/worldcat/entity/E39PCFWRYmvRYGfc9FQjw44H4q |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |t Popular cinemas in East Central Europe. |d London : I.B. Tauris & Co. Ltd, 2017 |z 1784533971 |z 9781784533977 |w (OCoLC)963344504 |
| 830 | 0 | |a International library of the moving image ; |v 40. |0 http://id.loc.gov/authorities/names/no2012142204 | |
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Datensatz im Suchindex
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| _version_ | 1816882399089262592 |
| adam_text | |
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| author2 | Pitassio, Francesco Varga, Zsuzsanna Ostrowska, Dorota, 1973- Pitassio, Francesco Varga, Zsuzsanna |
| author2_role | edt edt edt |
| author2_variant | f p fp z v zv d o do f p fp z v zv |
| author_GND | http://id.loc.gov/authorities/names/nr2003022777 http://id.loc.gov/authorities/names/n2001029960 http://id.loc.gov/authorities/names/no94006537 |
| author_facet | Pitassio, Francesco Varga, Zsuzsanna Ostrowska, Dorota, 1973- Pitassio, Francesco Varga, Zsuzsanna |
| author_sort | Pitassio, Francesco |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | P - Language and Literature |
| callnumber-label | PN1993 |
| callnumber-raw | PN1993.5.C28 |
| callnumber-search | PN1993.5.C28 |
| callnumber-sort | PN 41993.5 C28 |
| callnumber-subject | PN - General Literature |
| collection | ZDB-4-EBA |
| contents | Cover; Author bio; Endorsement; Title page; Copyright information; Table of contents; Figures; Graphs; Tables; List of contributors; Acknowledgements; A Note on Naming Conventions; Introduction; Part I Politics of Popular Cinema in the Interwar Period; 1 Czech Historical Film and Historical Traditions; Historical Narratives Shaping The Merry Wives; The Merry Wives: A Comedy Taking a Political Stance; Conclusion; Notes; 2 Starlets and Heart-throbs; Glamour Comedies and the Rise of the Male Stars; Turning Toward Melodrama: The Film Industry From 1936 Onwards; Conclusion; Notes Part II Towards Socialism: Continuities and Ruptures3 The Stripping of His Charms; The Star Lead; The Transformed Lead; The Resisting Lead; Conclusion; Notes; 4 Transformations; From the Commercial Film Industry to the State-Owned Cinema Culture; Hungarian Cinema for the Millions; From Socialist Realist Operettas to Satirical Comedies; Crime Cinema During Socialism: Mission Impossible?; From the Precursors of the Present to Historical Adventure; Conclusion; Notes; 5 Postwar Czechoslovak Comedy The Autonomisation of Parody, and Lemonade Joe (1964) Comedy in the Political History of Czechoslovak CinemaIndustrial Authorship and Group Styles in the State-Socialist Production System; Lemonade Joe: Paradoxical Historicity of Czech Film Parody; Autonomisation of Parody; Conclusion; Notes; Part III Socialist Film Cultures; 6 How To Be Loved? Three Takes on 'The Popular' in Socialist and Non-Socialist Cinema; 'Serious', 'Unserious', 'Art Cinema' and the 'Epic'; Kitsch and Realism; Notes; 7 'Humanist Screens': Foreign Cinema in Socialist Poland (1945-56); Humanist Screens and Mass Audiences; 1949: When Films Were Not Socialist Realist Enough 1951: Cinema Should Educate Rather Than Entertain1955: Genre Isn't So Bad After All; The General Public: Humanist Screens' Spectators; Conclusion; Notes; 8 Poland's Wild West and East; Lonely Heroes, Settlers and Gunslingers: How The Polish West Was Won; Defending the East: Soldiers and Rezuny; Conclusion; Notes; 9 Film in Full Gallop; Notes; 10 The Czechoslovak-East German Co-production Tři oříšky pro Popelku/Drei Haselnüsse für Aschenbrödel/Three Wishes ... ; Popularity With Two National Audiences; Children's Films at Barrandov and DEFA: A Temporary Reconciliation of Production Concepts Cinderella, a Transnational CharacterConclusion; Acknowledgement; 11 The Paradox of Popularity; Introduction; Popular Film and the Politics of Power; Popular Film and the Politics of Auteurs; After 1968; The Case of the Crime Movie; The vulture; Conclusion; Notes; Part IV Out of Socialism: Co-habiting Models of Popular Cinema; 12 Popular Nostalgia; Notes; 13 The Power of Love; Heritage cinema: the (un)certainties of the past; Melodrama: Historical Trauma as an Affect; Romantic Comedy: Modernity Domesticated; Conclusion; 14 When Walls Fall; Notes |
| ctrlnum | (OCoLC)1002418543 |
| dewey-full | 791.430943 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.430943 |
| dewey-search | 791.430943 |
| dewey-sort | 3791.430943 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| era | 1900-1999 fast |
| era_facet | 1900-1999 |
| format | Electronic eBook |
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Three Takes on 'The Popular' in Socialist and Non-Socialist Cinema; 'Serious', 'Unserious', 'Art Cinema' and the 'Epic'; Kitsch and Realism; Notes; 7 'Humanist Screens': Foreign Cinema in Socialist Poland (1945-56); Humanist Screens and Mass Audiences; 1949: When Films Were Not Socialist Realist Enough</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">1951: Cinema Should Educate Rather Than Entertain1955: Genre Isn't So Bad After All; The General Public: Humanist Screens' Spectators; Conclusion; Notes; 8 Poland's Wild West and East; Lonely Heroes, Settlers and Gunslingers: How The Polish West Was Won; Defending the East: Soldiers and Rezuny; Conclusion; Notes; 9 Film in Full Gallop; Notes; 10 The Czechoslovak-East German Co-production Tři oříšky pro Popelku/Drei Haselnüsse für Aschenbrödel/Three Wishes ... ; Popularity With Two National Audiences; Children's Films at Barrandov and DEFA: A Temporary Reconciliation of Production Concepts</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Cinderella, a Transnational CharacterConclusion; Acknowledgement; 11 The Paradox of Popularity; Introduction; Popular Film and the Politics of Power; Popular Film and the Politics of Auteurs; After 1968; The Case of the Crime Movie; The vulture; Conclusion; Notes; Part IV Out of Socialism: Co-habiting Models of Popular Cinema; 12 Popular Nostalgia; Notes; 13 The Power of Love; Heritage cinema: the (un)certainties of the past; Melodrama: Historical Trauma as an Affect; Romantic Comedy: Modernity Domesticated; Conclusion; 14 When Walls Fall; Notes</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Motion pictures</subfield><subfield code="z">Europe, Central</subfield><subfield code="x">History</subfield><subfield code="y">20th century.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Motion pictures</subfield><subfield code="z">Europe, Eastern</subfield><subfield code="x">History</subfield><subfield code="y">20th century.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Cinéma</subfield><subfield code="z">Europe centrale</subfield><subfield code="x">Histoire</subfield><subfield code="y">20e siècle.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Cinéma</subfield><subfield code="z">Europe de l'Est</subfield><subfield code="x">Histoire</subfield><subfield code="y">20e siècle.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">PERFORMING ARTS</subfield><subfield code="x">Reference.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Motion pictures</subfield><subfield code="2">fast</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">Central Europe</subfield><subfield code="2">fast</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">Eastern Europe</subfield><subfield code="2">fast</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">1900-1999</subfield><subfield code="2">fast</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="a">History</subfield><subfield code="2">fast</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Pitassio, Francesco.</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Varga, Zsuzsanna.</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Ostrowska, Dorota,</subfield><subfield code="d">1973-</subfield><subfield code="e">editor.</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PCjKTmjHhYJXgTqdfPH6cWC</subfield><subfield code="0">http://id.loc.gov/authorities/names/nr2003022777</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Pitassio, Francesco,</subfield><subfield code="e">editor.</subfield><subfield code="0">http://id.loc.gov/authorities/names/n2001029960</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Varga, Zsuzsanna,</subfield><subfield code="e">editor.</subfield><subfield code="0">http://id.loc.gov/authorities/names/no94006537</subfield></datafield><datafield tag="758" ind1=" " ind2=" "><subfield code="i">has work:</subfield><subfield code="a">Popular cinemas in East Central Europe (Text)</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PCFWRYmvRYGfc9FQjw44H4q</subfield><subfield code="4">https://id.oclc.org/worldcat/ontology/hasWork</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Print version:</subfield><subfield code="t">Popular cinemas in East Central Europe.</subfield><subfield code="d">London : I.B. 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| genre | History fast |
| genre_facet | History |
| geographic | Central Europe fast Eastern Europe fast |
| geographic_facet | Central Europe Eastern Europe |
| id | ZDB-4-EBA-on1002418543 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:27:59Z |
| institution | BVB |
| isbn | 9781786722393 1786722399 |
| language | English |
| lccn | 2017278034 |
| oclc_num | 1002418543 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource : illustrations |
| psigel | ZDB-4-EBA |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | I.B. Tauris & Co. Ltd, |
| record_format | marc |
| series | International library of the moving image ; |
| series2 | International library of the moving image ; |
| spelling | Popular cinemas in East Central Europe : film cultures and histories / edited by Dorota Ostrowska, Francesco Pitassio and Zsuzsanna Varga. London : I.B. Tauris & Co. Ltd, 2017. ©2017 1 online resource : illustrations text txt rdacontent computer c rdamedia online resource cr rdacarrier International library of the moving image ; 40 Includes bibliographical references and index. Online resource; title from PDF title page (EBSCO, viewed September 11, 2017). The continued interest in the social and cultural life of the former Warsaw pact countries - looking at but also beyond their socialist pasts - encompasses a desire to know more about their national cinemas. Yet, despite the increasing consumption of films from these countries - via DVD, VOD platforms and other alternative channels - there is a lack of comprehensive information on this key aspect of visual culture. This important book rectifies the glaring gap and provides both a history and a contemporary account of East Central European cinema in the pre-WW2, socialist, and post-socialist pe. Cover; Author bio; Endorsement; Title page; Copyright information; Table of contents; Figures; Graphs; Tables; List of contributors; Acknowledgements; A Note on Naming Conventions; Introduction; Part I Politics of Popular Cinema in the Interwar Period; 1 Czech Historical Film and Historical Traditions; Historical Narratives Shaping The Merry Wives; The Merry Wives: A Comedy Taking a Political Stance; Conclusion; Notes; 2 Starlets and Heart-throbs; Glamour Comedies and the Rise of the Male Stars; Turning Toward Melodrama: The Film Industry From 1936 Onwards; Conclusion; Notes Part II Towards Socialism: Continuities and Ruptures3 The Stripping of His Charms; The Star Lead; The Transformed Lead; The Resisting Lead; Conclusion; Notes; 4 Transformations; From the Commercial Film Industry to the State-Owned Cinema Culture; Hungarian Cinema for the Millions; From Socialist Realist Operettas to Satirical Comedies; Crime Cinema During Socialism: Mission Impossible?; From the Precursors of the Present to Historical Adventure; Conclusion; Notes; 5 Postwar Czechoslovak Comedy The Autonomisation of Parody, and Lemonade Joe (1964) Comedy in the Political History of Czechoslovak CinemaIndustrial Authorship and Group Styles in the State-Socialist Production System; Lemonade Joe: Paradoxical Historicity of Czech Film Parody; Autonomisation of Parody; Conclusion; Notes; Part III Socialist Film Cultures; 6 How To Be Loved? Three Takes on 'The Popular' in Socialist and Non-Socialist Cinema; 'Serious', 'Unserious', 'Art Cinema' and the 'Epic'; Kitsch and Realism; Notes; 7 'Humanist Screens': Foreign Cinema in Socialist Poland (1945-56); Humanist Screens and Mass Audiences; 1949: When Films Were Not Socialist Realist Enough 1951: Cinema Should Educate Rather Than Entertain1955: Genre Isn't So Bad After All; The General Public: Humanist Screens' Spectators; Conclusion; Notes; 8 Poland's Wild West and East; Lonely Heroes, Settlers and Gunslingers: How The Polish West Was Won; Defending the East: Soldiers and Rezuny; Conclusion; Notes; 9 Film in Full Gallop; Notes; 10 The Czechoslovak-East German Co-production Tři oříšky pro Popelku/Drei Haselnüsse für Aschenbrödel/Three Wishes ... ; Popularity With Two National Audiences; Children's Films at Barrandov and DEFA: A Temporary Reconciliation of Production Concepts Cinderella, a Transnational CharacterConclusion; Acknowledgement; 11 The Paradox of Popularity; Introduction; Popular Film and the Politics of Power; Popular Film and the Politics of Auteurs; After 1968; The Case of the Crime Movie; The vulture; Conclusion; Notes; Part IV Out of Socialism: Co-habiting Models of Popular Cinema; 12 Popular Nostalgia; Notes; 13 The Power of Love; Heritage cinema: the (un)certainties of the past; Melodrama: Historical Trauma as an Affect; Romantic Comedy: Modernity Domesticated; Conclusion; 14 When Walls Fall; Notes Motion pictures Europe, Central History 20th century. Motion pictures Europe, Eastern History 20th century. Cinéma Europe centrale Histoire 20e siècle. Cinéma Europe de l'Est Histoire 20e siècle. PERFORMING ARTS Reference. bisacsh Motion pictures fast Central Europe fast Eastern Europe fast 1900-1999 fast History fast Pitassio, Francesco. Varga, Zsuzsanna. Ostrowska, Dorota, 1973- editor. https://id.oclc.org/worldcat/entity/E39PCjKTmjHhYJXgTqdfPH6cWC http://id.loc.gov/authorities/names/nr2003022777 Pitassio, Francesco, editor. http://id.loc.gov/authorities/names/n2001029960 Varga, Zsuzsanna, editor. http://id.loc.gov/authorities/names/no94006537 has work: Popular cinemas in East Central Europe (Text) https://id.oclc.org/worldcat/entity/E39PCFWRYmvRYGfc9FQjw44H4q https://id.oclc.org/worldcat/ontology/hasWork Print version: Popular cinemas in East Central Europe. London : I.B. Tauris & Co. Ltd, 2017 1784533971 9781784533977 (OCoLC)963344504 International library of the moving image ; 40. http://id.loc.gov/authorities/names/no2012142204 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1585587 Volltext |
| spellingShingle | Popular cinemas in East Central Europe : film cultures and histories / International library of the moving image ; Cover; Author bio; Endorsement; Title page; Copyright information; Table of contents; Figures; Graphs; Tables; List of contributors; Acknowledgements; A Note on Naming Conventions; Introduction; Part I Politics of Popular Cinema in the Interwar Period; 1 Czech Historical Film and Historical Traditions; Historical Narratives Shaping The Merry Wives; The Merry Wives: A Comedy Taking a Political Stance; Conclusion; Notes; 2 Starlets and Heart-throbs; Glamour Comedies and the Rise of the Male Stars; Turning Toward Melodrama: The Film Industry From 1936 Onwards; Conclusion; Notes Part II Towards Socialism: Continuities and Ruptures3 The Stripping of His Charms; The Star Lead; The Transformed Lead; The Resisting Lead; Conclusion; Notes; 4 Transformations; From the Commercial Film Industry to the State-Owned Cinema Culture; Hungarian Cinema for the Millions; From Socialist Realist Operettas to Satirical Comedies; Crime Cinema During Socialism: Mission Impossible?; From the Precursors of the Present to Historical Adventure; Conclusion; Notes; 5 Postwar Czechoslovak Comedy The Autonomisation of Parody, and Lemonade Joe (1964) Comedy in the Political History of Czechoslovak CinemaIndustrial Authorship and Group Styles in the State-Socialist Production System; Lemonade Joe: Paradoxical Historicity of Czech Film Parody; Autonomisation of Parody; Conclusion; Notes; Part III Socialist Film Cultures; 6 How To Be Loved? Three Takes on 'The Popular' in Socialist and Non-Socialist Cinema; 'Serious', 'Unserious', 'Art Cinema' and the 'Epic'; Kitsch and Realism; Notes; 7 'Humanist Screens': Foreign Cinema in Socialist Poland (1945-56); Humanist Screens and Mass Audiences; 1949: When Films Were Not Socialist Realist Enough 1951: Cinema Should Educate Rather Than Entertain1955: Genre Isn't So Bad After All; The General Public: Humanist Screens' Spectators; Conclusion; Notes; 8 Poland's Wild West and East; Lonely Heroes, Settlers and Gunslingers: How The Polish West Was Won; Defending the East: Soldiers and Rezuny; Conclusion; Notes; 9 Film in Full Gallop; Notes; 10 The Czechoslovak-East German Co-production Tři oříšky pro Popelku/Drei Haselnüsse für Aschenbrödel/Three Wishes ... ; Popularity With Two National Audiences; Children's Films at Barrandov and DEFA: A Temporary Reconciliation of Production Concepts Cinderella, a Transnational CharacterConclusion; Acknowledgement; 11 The Paradox of Popularity; Introduction; Popular Film and the Politics of Power; Popular Film and the Politics of Auteurs; After 1968; The Case of the Crime Movie; The vulture; Conclusion; Notes; Part IV Out of Socialism: Co-habiting Models of Popular Cinema; 12 Popular Nostalgia; Notes; 13 The Power of Love; Heritage cinema: the (un)certainties of the past; Melodrama: Historical Trauma as an Affect; Romantic Comedy: Modernity Domesticated; Conclusion; 14 When Walls Fall; Notes Motion pictures Europe, Central History 20th century. Motion pictures Europe, Eastern History 20th century. Cinéma Europe centrale Histoire 20e siècle. Cinéma Europe de l'Est Histoire 20e siècle. PERFORMING ARTS Reference. bisacsh Motion pictures fast |
| title | Popular cinemas in East Central Europe : film cultures and histories / |
| title_auth | Popular cinemas in East Central Europe : film cultures and histories / |
| title_exact_search | Popular cinemas in East Central Europe : film cultures and histories / |
| title_full | Popular cinemas in East Central Europe : film cultures and histories / edited by Dorota Ostrowska, Francesco Pitassio and Zsuzsanna Varga. |
| title_fullStr | Popular cinemas in East Central Europe : film cultures and histories / edited by Dorota Ostrowska, Francesco Pitassio and Zsuzsanna Varga. |
| title_full_unstemmed | Popular cinemas in East Central Europe : film cultures and histories / edited by Dorota Ostrowska, Francesco Pitassio and Zsuzsanna Varga. |
| title_short | Popular cinemas in East Central Europe : |
| title_sort | popular cinemas in east central europe film cultures and histories |
| title_sub | film cultures and histories / |
| topic | Motion pictures Europe, Central History 20th century. Motion pictures Europe, Eastern History 20th century. Cinéma Europe centrale Histoire 20e siècle. Cinéma Europe de l'Est Histoire 20e siècle. PERFORMING ARTS Reference. bisacsh Motion pictures fast |
| topic_facet | Motion pictures Europe, Central History 20th century. Motion pictures Europe, Eastern History 20th century. Cinéma Europe centrale Histoire 20e siècle. Cinéma Europe de l'Est Histoire 20e siècle. PERFORMING ARTS Reference. Motion pictures Central Europe Eastern Europe History |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1585587 |
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