Cinematic Bodies of Eastern Europe and Russia

Ewa Mazierska is Professor of Film Studies at the University of Lancashire, UK. She published over thirty monographs and edited collections on film and popular music, including Popular Polish Electronic Music, 1970–2020: Cultural History (2021), Polish Popular Music on Screen (2021), Poland Daily: Economy, Work, Consumption and Social Class in Polish Cinema (2017) and monographs of several directors, such as Roman Polanski, Jerzy Skolimowski and Nanni Moretti. She is the principal editor of Studies in Eastern European Cinema. Her work was translated to over 20 languages. Matilda Mroz is Lecturer in Film Studies at the University of Sydney. She is the author of Framing the Holocaust in Polish Aftermath Cinema (2020, Palgrave MacMillan) and Temporality and Film Analysis (2012, EUP). She is co-editor of The Cinematic Bodies of Eastern Europe and Russia (2016, EUP), Remembering Katyń (2012, Polity Press) and Elemental World Cinemas (2025, Brill). Elżbieta Ostrowska is an Associate Professor in the Department of Film and Audiovisual Media at the University of Łódź, Poland. Her publications include Women in Polish Cinema, co-authored with Ewa Mazierska (2006), the co-edited volumes The Cinematic Bodies of Eastern Europe and Russia. Between Pain and Pleasure (with Ewa Mazierska and Matilda Mroz) and The Cinema of Roman Polanski. Dark Spaces of the World. Her articles about film in have appeared in publications such as Slavic Review, Studies in European Cinema and Feminist Encounters.

• Introduction: Shaping the Cinematic Bodies of Eastern Europe and Russia, Ewa Mazierska, Matilda Mroz and Elżbieta Ostrowska I: Wounds and TraumasChapter One: "What does Poland Want From Me?": Male hysteria in Andrzej Wajda’s War Trilogy, Elzbieta OstrowskaChapter Two: Alcoholism and the Doctor in Béla Tarr’s Satantango, Calum WattChapter Three: Playing Dead: Pictorial Figurations of Melancholia in Contemporary Hungarian Cinema, Hajnal KirályChapter Four: The Body Breached: Post-Soviet Masculinity on Screen, Helena GosciloII: Transgressions and PleasuresChapter Five: Borowczyk as Pornographer, Ewa MazierskaChapter Six: Queering Masculinity in Yugoslav Socialist Realist Films, Nebojša Jovanović Chapter Seven: Geographies of Carnality: Slippery Sexuality in Wiktor Grodecki’s Gay Hustler Trilogy, Bruce WilliamsChapter Eight: A Mass Doubling of Heroes: Post-Human Objects of Queer Desire in Vladimir Sorokin and Ilya Khrzhanovsky’s 4, Alexandar MihailovicIII: Carnal Histories Chapter Nine: The Touch of History: A Phenomenological Approach to 1960s Czech Cinema, David SorfaChapter Ten: Corporeal Exploration in Györgi Pálfi‘s Taxidermia, Małgorzata Bugaj Chapter Eleven: Aerial Bodies in Polish Cinema, Dorota OstrowskaChapter Twelve: The ‘Chemistry’ of Art(ifice) and Life: Embodied Paintings in East European Cinema, Ágnes PethőIndex

Impressive. The hard-working collaborators on this volume have made a formidable contribution.