East European Cinemas

Anikó Imre is research associate at the Amsterdam School of Cultural Analysis.

• Anik Imre, Introduction: East European Cinemas in New Perspectives PART 1: Gender Identity and Representation 1. Katarzyna Marciniak, Second Worldness and Transnational Feminist Practices: Agnieszka Holland's A Woman Alone 2. Marguerite Waller, What's in Your Head: 'History' and 'Nation' in Ibolya Fekete's Bolse vita and Ghetto Art's Making the Walls Come Down 3. Tomislav Z. Longinovic, Playing the Western Eye: Balkan Masculinity and Post-Yugoslav-War Cinema 4. El?bieta H. Oleksy, The Politics of Representing Gender in Post-World War II Polish Cinema and Visual Art 5. Petra Hanáková, Voices from Another World: Feminine Space and Masculine Intrusion in Sedmikrásky and Vrazda ing. Certa. PART 2: (Post)modernist Continuities 6. Melinda Szaloky, Somewhere in Europe: Exile and Orphanage in Post-World War II Hungarian Cinema 7. Dusan Bjelic, Global Aesthetics and the Serbian Cinema of the 1990s 8. Catherine Portuges, Traumatic Memory, Jewish Identity: Remapping the Past in Hungarian Cinema 9. Peter Hames, The Ironies of History: The Czech Experience 10. András Bálint Kovács, Gábor Bódy: Precursor of the Digital Age 11. Ágnes Pethö, Chaos, Intermediality, Allegory: The Cinema of Mircea Daneliuc PART 3: Regional Visions 12. KrissRavetto-Biagioli, Reframing Europe's Double Border 13. Roumiana Deltcheva, Reliving the Past in Recent East European Cinemas 14. Christina Stojanova, Fragmented Discourses: Young Cinema from Central and Eastern Europe 15. Dina Iordanova, The Cinema of Eastern Europe: Strained Loyalties, Elusive Clusters

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