This book presents a re-examination of the cinemas of a range of countries in the Soviet Union and Eastern Europe in communist times. It argues that, since the end of communism in these countries, scholars of film are able to view the cinemas of those countries in communist times in a different way, no longer bound by a Cold War outlook, an outlook which tended to view such cinemas only in Cold War terms.
This book presents a re-examination of the cinemas of a range of countries in the Soviet Union and Eastern Europe in communist times. It argues that, since the end of communism in these countries, scholars of film are able to view the cinemas of those countries in communist times in a different way, no longer bound by a Cold War outlook, an outlook which tended to view such cinemas only in Cold War terms.
Sanja Bahun is a Senior Lecturer in Literature and Film at the University of Essex, UK John Haynes is a Lecturer in Film Studies at the University of Essex, UK
Inhaltsangabe
IntroductionPart 1: On Spaces and Nations1. Squeezing Space, Releasing Space: Spatial Research in the Study of Eastern European Cinema2. Thinking again about Cold War Cinema 3. Incommensurable Distance: Versions of National Identity in Georgian Soviet Cinema Part 2: Ideologies of Representation 4. Mirrors of Death: Subversive Subtexts in Bulgarian Cinema, 1964 -1979 5. Popular Cinema in Late 1960s Romania6. Stalinist Cinema and the Search for Audiences: Liubov¢ Orlova and the Case for Star StudiesPart 3: (Re)recordings, (Re)focusings, (Re)discoveries 7. The Political Camera: Comparing 1956 in Three Moments of Hungarian History8. Back to the Archives: The Testimonial Power of Soviet Silent Footage of the Holocaust9. The Human and the Possible: Animation in Central and Eastern Europe
IntroductionPart 1: On Spaces and Nations1. Squeezing Space, Releasing Space: Spatial Research in the Study of Eastern European Cinema2. Thinking again about Cold War Cinema 3. Incommensurable Distance: Versions of National Identity in Georgian Soviet Cinema Part 2: Ideologies of Representation 4. Mirrors of Death: Subversive Subtexts in Bulgarian Cinema, 1964 -1979 5. Popular Cinema in Late 1960s Romania6. Stalinist Cinema and the Search for Audiences: Liubov¢ Orlova and the Case for Star StudiesPart 3: (Re)recordings, (Re)focusings, (Re)discoveries 7. The Political Camera: Comparing 1956 in Three Moments of Hungarian History8. Back to the Archives: The Testimonial Power of Soviet Silent Footage of the Holocaust9. The Human and the Possible: Animation in Central and Eastern Europe
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