East, West and Centre

Michael Gott is Associate Professor of French and Film and Media Studies at the University of Cincinnati, where he teaches courses in European Studies, Film and Media Studies, and French-language culture and cinema. He is the author of French-language Road Cinema: Borders, Diasporas and ‘New Europe’ (EUP, 2016) and co-edited Cinéma-monde: Decentred Perspectives on Global Filmmaking in French (EUP, 2018), Open Roads, Closed Borders: the Contemporary French-Language Road Movie (Intellect, 2013) and East, West and Centre: Reframing European Cinema Since 1989 (EUP, 2014). Todd Herzog is an Associate Professor and Chair of German Studies at the University of Cincinnati. He is co-editor of the Journal of Austrian Studies. His books include Crime Stories (Berghahn, 2009), Rebirth of a Culture (Berghahn, 2008, with Hillary Hope Herzog and Benjamin Lapp) and A New Germany in a New Europe (Routledge, 2001, with Sander Gilman).

• List of Figures Notes on Contributors AcknowledgementsIntroduction: East, West and Centre: ‘Mapping Post-1989 European Cinema’ Michael Gott and Todd HerzogPart I Redrawing the Lines: De/Recentring Europe1 The Berlin Wall Revisited: Reframing Historical Space Between East and in Cynthia Beatts’s Cycling the Frame (1988), The Invisible Frame (2009) and Bartosz Konopka’s Rabbit à la Berlin (2009) Jenny Stümer2 Changing Sides: East/West Travesties in Lionel Baier’s Comme des voleurs (à l’est) Kris Van Heuckelom3 Dubbing and Doubling Over: The Disorientation of France in the Films of Michael Haneke and Krzysztof Kieślowski Alison Rice4 Challenging the East–West Divide in Ulrich Seidl’s Import Export (2007) Nikhil Sathe5 Fatih Akın’s Filmic Visions of a New Europe: Spatial and Aural Constructions of Europe in Im Juli/In July (2000) Berna Gueneli6 Salami Aleikum – The ‘Near East’ Meets the ‘Middle East’ in Central Europe Alexandra Ludewig7 Cinematic Fairy Tales of Female Mobility in Post-Wall Europe: Hanna v. Mona Aga SkrodzkaPart II Border Spaces, Eastern Margins and Eastern Markets: Belonging and the Road to/from Europe8 Contemporary Bulgarian Cinema: From Allegorical Expressionism to Declined National Cinema Temenuga Trifonova9 The Point of No Return: From Great Expectations to Great Desperation in New Romanian Cinema Lucian Georgescu10 ‘Weirdness’, Modernity and the Other Europe in Attenberg (2010, Athina Rachel Tsangari) Jun Okada11 Lithuania Redirected: New Connections, Businesses and Lifestyles in Cinema since 2000 Renata Šukaitytė12 Lessons of Neo-liberalism: Co-productions and the Changing Image of Estonian Cinema Eva Näripea13 Decentring Europe from the Fringe: Reimagining Balkan Identities in the Films of the 1990s Danica Jenkins and Kati TonkinPart III Spectres of the East14 Through the Lens of Black Humour: A Polish Adam in the Post-Wall World Rimma Garn15 East Germany Revisited, Reimagined, Repositioned: Representing the GDR in Dominik Graf’s Der rote Kakadu (2005) and Christian Petzold’s Barbara (2012) Nick Hodgin16 Barluschke: Towards an East–West Schizo-History Kalani Michell17 The Limits of Nostalgia and (Trans)National Cinema in Cum mi-am petrecut sfârşitul lumii (2006) Mihaela Petrescu18 The Ideal of Ararat: Friendship, Politics and National Origins in Robert Guédiguian’sLe Voyage en Arménie Joseph MaiNotes Bibliography Index

East West and Centre: Re-framing Post-1989 European Cinema cannot be missed by anybody who searches for thought-provoking films and new ways to tackle them. Its authors engage with the legacies of various types of colonialism in Europe and imbalance in European cinema, and attempt to counteract these phenomena by offering close analyses of the most fascinating films made since the fall of state socialism, utilising concepts such as feminism, magic realism, hapticity and road cinema.