Europeanness of European Cinema

MARY HARROD is Assistant Professor in French Studies at the University of Warwick. MARIANA LIZ is Lecturer in Film Studies at the Centre for World Cinemas, University of Leeds. ALISSA TIMOSHKINA received a PhD in Film Studies from King's College London, where she currently teaches.

• List of Illustrations, Table and Graph viiAcknowledgements ixContributors xiThe Europeanness of European Cinema: An Overview 1Mary Harrod, Mariana Liz and Alissa TimoshkinaSection 1 Defining Europe and Its Cinema1 European Cinema into the Twenty-First Century: Enlarging theContext? 17Thomas Elsaesser2 Popular European Cinema in the 2000s: Cinephilia, Genre andHeritage 33Tim Bergfelder3 Changing the Image of Europe? The Role of EuropeanCo-Productions, Funds and Film Awards 59Anne J¨ackel4 From European Co-Productions to the Euro-Pudding 73Mariana Liz5 Christianity and European Film 87Catherine Wheatley6 The Feather Collectors: Erased Identity and InvisibleRepresentations of the Roma in Yugoslav Cinema 101Greg De Cuir Jr.Section 2 Transnational Europe: Genre, Stardom and Language7 The Trouble with Stars: Vernacular versus Global Stardom inTwo Forms of European Popular Culture 117Olof Hedling8 Juliette Binoche: The Perfect European Star 131Ginette Vincendeau9 Franglais, Anglais and Contemporary French Comedy 145Mary Harrod10 Laughing in Tongues: Polyglot Comedy in Europe 159Alison Smith11 The Use of English in European Feature Films: Unity inDiversity? 173La¨etitia KulykSection 3 Circulating Europeanness12 Paris je t?aime (plus): Europhobia as Europeanness in Luc Bessonand Pierre Morel?s Dystopia Trilogy 185Neil Archer13 Hollywood and Europe: Remaking The Girl with the Dragon Tattoo 199Lucy Mazdon14 Spanish Heritage Cinema 213Sally Faulkner15 From Russia to Europe and Back: East Meets West in the Filmsof Pavel Lungin 227Alissa TimoshkinaBibliography 241Index 259vi

Twenty-five years after the fall of the Berlin Wall, Europe's East and West are still reaching out to each other. Europe has enlarged and transformed, but - in the sway of the global crisis - it has also shrunk into insignificance. Yet, European cinema is going strong in making meaning, as this book persuasively shows in tackling matters of heritage and cinephilia, identity and pan-European minorities. Transnational stardom and co-productions are explored against the backdrop of multiple national film traditions. It all comes together, elegantly and proficiently, under the coveted umbrella of Europeanness. Dina Iordanova, Institute for Global Cinema and Creative Cultures, University of St Andrews This wonderful collection navigates with rigour, enthusiasm and aplomb the complexities of thinking about something called European cinema, always respecting differences, never forcing a unity on the phenomenon, but also stubbornly and triumphantly affirming that there is indeed such a thing." Professor Richard Dyer, Kings College London