Emergence of Film Culture

Malte Hagener is Professor of Media Studies at Philipps Universität Marburg. He is the author of Moving Forward, Looking Back: The European Avant-garde and the Invention of Film Culture, 1919-1939 (Amsterdam UP 2007) and with Thomas Elsaesser of Film Theory: An Introduction through the Senses (Routledge 2010).

• List of FiguresAcknowledgementsIntroduction: The Emergence of Film CultureMalte HagenerPART I: FORMATIONS OF KNOWLEDGEChapter 1. Policing Race. Postcolonial Critique, Censorship and Regulatory Responses to the Cinema in Weimar Film CultureTobias NaglChapter 2. The Visible Woman in and against Béla BalázsErica CarterChapter 3. Encounters in Darkened Rooms: Alternative Programming of the Dutch Filmliga, 1927-1931Tom Gunning Chapter 4. When Was Soviet Cinema Born? The Institututionalization of Soviet Film Studies and the Problems of PeriodizationNatalya RyabchikovaPART II: NETWORKS OF EXCHANGE Chapter 5. Eastern Avatars. Russian Influence on European Avant-gardesIan ChristieChapter 6. Early Yugoslav ciné-amateurism: Cinéphilia and the institutionalization of film culture in the Kingdom of Yugoslavia during the interwar periodGreg DeCuir, Jr.Chapter 7. Soviet-Italian Cinematic Exchanges. Transnational Film Education in the 1930sMasha SalazkinaChapter 8. The Avant-garde, Education and Marketing: The Making of Non-Theatrical Film Culture in Interwar SwitzerlandYvonne ZimmermannPART III: EMERGENCE OF INSTITUTIONS Chapter 9. Interwar Film Culture in Sweden. Avant-Garde Transactions in the Emergent Welfare StateLars Gustaf AnderssonChapter 10. Building the Institution. Luigi Chiarini and Italian Film Culture in the 1930sFrancesco Pitassio and Simone VenturiniChapter 11. A New Art for a New Society? The Emergence and Development of Film Schools in EuropeDuncan PetrieChapter 12. Institutions of Film Culture. Festivals and Archives as Network NodesMalte HagenerChapter 13. The German Reichsfilmarchiv in an International ContextRolf AurichNotes on ContributorsBibliographyIndex

2014 PREMIO LIMINA PRIZE FOR BEST FILM STUDIES BOOK (IN A LANGUAGE OTHER THAN ITALIAN) “…the book offers a rich and articulated picture of the organization and building of film culture in interwar Europe, and proves to be very keen in disclosing unexplored corners of well-known national film histories (as the Italian and German ones), but also of little explored scenarios (such as Swedish film culture or the Yugoslavian case).” · Historical Journal of Film, Radio and Television“[C]ontributes significantly to...a welcome turn among film historians who increasingly inscribe individual films, directors, and national practices within transnational, regional, and global film cultures...has the potential to become a key reference for critical approaches to film cultures in interwar Europe.”  ·  Steven Ungar, University of Iowa“This newest anthology is a wonderful contribution to the field...offer[ing] valuable takes on the development of European film culture in the interwar period...[I]t goes beyond the usual suspects (say, France and Germany) to examine the flourishing of a new film culture in many other contexts throughout Europe.  There is an opening up of film historiography here in a way that is quite exciting and quite productive.”  ·  Dana Polan, New York University