By Anikó Imre
A better half to japanese eu Cinemas showcases twenty-five essays written via verified and rising movie students that hint the background of japanese eu cinemas and provide an updated overview of post-socialist movie cultures.
- Showcases serious historic paintings and up to date checks of post-socialist movie cultures
- Features attention of lesser identified parts of research, equivalent to Albanian and Baltic cinemas, well known style motion pictures, cross-national distribution and aesthetics, animation and documentary
- Places the cinemas of the quarter in a ecu and international context
- Resists the chilly conflict category of japanese eu cinemas as “other” artwork cinemas by means of reconnecting them with the most move of movie studies
- Includes dialogue of such movies as Taxidermia, El Perro Negro, 12:08 East of Bucharest tremendous Tõll, and Breakfast at the Grass and explores the paintings of administrators together with Tamás Almási, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej ?u?awski, and Karel Vachek among many others
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Additional info for A Companion to Eastern European Cinemas
Several chapters identify specific fields in which studying Eastern European cinema can make a unique contribution. In Chapter 6, Catherine Portuges considers the trajectory of Polish, Czech, and Hungarian films about Jews and Jewishness from the theoretical perspectives of Holocaust and memory studies. She tracks the aesthetic and thematic manifestations of the “transgenerational transmission of trauma” in the work and lives of three generations of filmmakers: camp survivors, those who were born just before or during the Holocaust and have direct experience but few or no memories, and those who inherited the trauma indirectly from their parents or grandparents.
Routledge, London, pp. 15–22. Verrier, R. (2009) Hollywood’s Raleigh Studios plants flag in Budapest. html (accessed January 25, 2012). Wolff, L. (1994) Inventing Eastern Europe: The Map of Civilization on the Mind of Enlightenment. Stanford University Press, Stanford. indd 23 7/4/2012 5:18:30 AM 2 Body Horror and Post-Socialist Cinema György Pálfi’s Taxidermia Steven Shaviro György Pálfi’s Taxidermia (2006) is a landmark work of post-Socialist cinema. It reflects upon the history of Hungary over the past century: a history of sociopolitical failures, betrayals, and disappointments.
Andreas Trossek makes one of the few existing contributions to the critical and theoretical appreciation of this work at a time when animation is enjoying a boom within the global industry and study of film. He follows the delicate aesthetic and political maneuvering that Estonian filmmakers Priit Pärn and Rein Raamat had to employ across the ideological minefields of making films for national, Soviet, and international festival audiences simultaneously through the thaw of the 1970s and the perestroika of the late 1980s.
A Companion to Eastern European Cinemas by Anikó Imre