Companion to Eastern European Cinemas

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.

• Notes on the Editor and Contributors viii Foreword xvDina Iordanova1 Introduction: Eastern European Cinema From No End to the End (As We Know It) 1Anikó ImrePart I New Theoretical and Critical Frameworks 232 Body Horror and Post-Socialist Cinema: György Pálfi’s Taxidermia 25Steven Shaviro3 El perro negro : Transnational Readings of Database Documentaries from Spain 41Marsha Kinder4 Did Somebody Say Communism in the Classroom? or The Value of Analyzing Totality in Recent Serbian Cinema 63Zoran Samardzija5 Laughing into an Abyss: Cinema and Balkanization 77Kriss Ravetto-Biagioli6 Jewish Identities and Generational Perspectives 101Catherine Portuges7 Aftereffects of 1989: Corneliu Porumboiu’s 12:08 East of Bucharest (2006) and Romanian Cinema 125Alice Bardan8 Cinema Beyond Borders: Slovenian Cinema in a World Context 148Meta Mazaj and Shekhar Deshpande Part II Historical and Spatial Redefinitions 1679 Center and Periphery, or How Karel Vachek Formed a New Government 169Alice Lovejoy10 The Polish Black Series Documentary and the British Free Cinema Movement 183Bjørn Sørenssen11 Socialists in Outer Space: East German Film’s Venusian Adventure 201Stefan Soldovieri12 Red Shift: New Albanian Cinema and its Dialogue with the Old 224Bruce Williams13 National Space, (Trans)National Cinema: Estonian Film in the 1960s 244Eva Näripea14 For the Peace, For a New Man, For a Better World! Italian Leftist Culture and Czechoslovak Cinema, 1945–1968 265Francesco PitassioPart III Aesthetic (Re)visions 28915 The Impossible Polish New Wave and its Accursed Émigré Auteurs: Borowczyk, Polañski, Skolimowski, and ¯u³awski 291Michael Goddard16 Documentary and Industrial Decline in Hungary: The “Ózd Series” of Tamás Almási 311John Cunningham17 Investigating the Past, Envisioning the Future: An Exploration of Post-1991 Latvian Documentary 325Maruta Z. Vitols18 Eastern European Historical Epics: Genre Cinema and the Visualization of a Heroic National Past 344Nikolina Dobreva19 Nation, Gender, and History in Latvian Genre Cinema 366Irina Novikova20 A Comparative Study: Rein Raamat’s Big Tõll and Priit Pärn’s Luncheon on the Grass 385Andreas Trossek21 The Yugoslav Black Wave: The History and Poetics of Polemical Cinema in the 1960s and 1970s in Yugoslavia 403Greg De Cuir, Jr .Part IV Industries and Institutions 42522 Follow the Money – Financing Contemporary Cinema in Romania 427Ioana Uricaru23 An Alternative Model of Film Production: Film Units in Poland after World War Two 453Dorota Ostrowska24 The Hussite Heritage Film: A Dream for all Czech Seasons 466Petra Hanáková25 International Co-productions as Productions of Heterotopias 483Ewa Mazierska26 East is East? New Turkish Cinema and Eastern Europe 504Melis BehlilIndex 518

"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' Europe."  (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)