The Routledge Companion to European Cinema

ISBN-13: 9780367461850 / Angielski / Twarda / 2021 / 466 str.

Gábor Gergely; Susan Hayward

Opis

Presenting new and diverse scholarship, this wide-ranging collection of forty-three original chapters asks what European cinema tells us about Europe.

Spis treści

Introduction   Part I: A first dialogical cluster: European cinema speaking about Europe: Through explorations of sexualities, identities, migration and the crisis of modernity  1. Post-communist nostalgia in new Bulgarian cinema as a social critique: Mediated post-communist nostalgia  2. Slow Slippy: Still shite being Scottish? T2: Trainspotting and the ‘Scottish European’  3. Beauty and historical understanding in Suspiria and Cold War  4. ‘Europe was built on blood’: Christian Petzold as a European filmmaker  5. Europe wounded? Politics of hope and resistance in Vincent Dieutre’s Orlando Ferito (2013)  6. Lilting and the entangled temporalities of Europe(an cinema)  7. New ways of looking: The case of Maren Ade, Valeska Grisebach and Małgorzata Szumowska  8. The ebbs and flows of girlhood experience across European cinema  9.  ‘Dream on princess’: Cultural value, gender politics and the Hungarian film canon through the documentary Pretty Girls  10. European ecology-documentaries as performative exchange  11. Following the flâneur Hulot in Playtime: Soundscape of the new Paris  12. Ágata’s (filmmaking) girlfriends: The new wave of women directors in Catalonia  13. The Bourne multiplicity: Quantum Europeanness in the Bourne films (2002-2016)  14. Noisy presences in contemporary European Cinema: Paris est une fête: un film en 18 vagues  15. Gay male sex, carnal knowledge and realism in contemporary French cinema  16. Eden is West, Europe as a magic trick   Part II: A second dialogical cluster: Cinema and its industry, national transnationalisms: Actors, studios and cross-overs  17. Omar Sharif: A European Middle Eastern star  18. Weakened nationalism and thickened time: Interrogating the position of Kurdish cinema within European cinema discussions  19. Why small European film industries remake each other’s successes: The case of the Low Countries  20. European collaboration after World War Two: A Tale of Five Cities (M. Tully, R. Marcellini, W. Staudte, G. von Cziffra, E. E. Reinert, 1948—1951)  21. A film ‘highly offensive to our nation’: Stanley Kubrick’s Paths of Glory (1957), censorship, and militaristic representations of post-war Europe  22. Europe comes to Hollywood: The silent era, 1912—1927  23. The non-professional actor in European cinema  24. The (cultural) politics of international co-production: Morocco and Europe  25. British comedy in a foreign light: Looking at the trope of British comedy through the lens of émigré filmmakers  26. Corporate consolidation, artistic conservatism and the persistence of Hollywood: The European film industry, 2006—2020  27. ‘Boyish’ women and female soldiers: British gender disguise comedies between the world wars  28. Fred Zinnemann: A Hollywood director who never leaves Europe   Part III: A third dialogical cluster: European cinema and the myth of a unifying and pluralist Europe: Through explorations of borders, genres and histories  29. Framing fundamentalism in contemporary European film  30. Gangster films reloaded: European values and the criminal spectre of late modernity  31.  Films at the intersection of Europe, the Balkans and transgender visibility: A sketch map  32. Two-speed economic systems and bipolarity in the European Union: Frontier spaces in Valeska Grisebach’s Western  33. Film topography and national belonging: Hungarian Jewishness and the high mountains  34. Identity and belonging in the bordered spaces of Gatlif’s Indignados (2012) and Geronimo (2014)  35.  Accented silences: The aesthetics of displacement in diasporic post-Yugoslav cinema  36. Resisting the traps of hegemony: Variation in contemporary German queer of color cinema  37. Lisbon on film 1980-2020: Locating Europe  38. ‘We live like swine and die like swine, because we mean nothing to each other’: The little person, the state and nationhood in contemporary Russian film  39. Family, memories and borders: Europe in the films of Stephan Komandarev  40. Neoliberal authorship: Auteur theory and European art cinema in 2021 — The example of Paweł Pawlikowski  41. Queer bodies and the death drive: Gender and sexuality in Italian giallo  42. Political discourse and rhetoric: Challenging twenty-first century populism in Chez nous/This Is Our Land  43.  Recovering memory, reasserting Europeanness. Modern Convivencia and Hispanotropicalism in Palm Trees in the Snow (2015) and Neckan (2014)