Eastern Europe has produced rich and varied film cultures--Czech, Hungarian, and Serbian among them--whose histories have been intimately tied to the transition from Soviet domination to the complexities of post-Communist life. This latest volume in the "AFI Film" "Readers" series presents a long-overdue reassessment of East European cinemas from theoretical, psychoanalytic, and gender perspectives, moving the subject beyond the traditional "area studies" approach to the region's films. This ambitious collection, situating Eastern Europe's many cinemas within global paradigms of film study,…mehr
Eastern Europe has produced rich and varied film cultures--Czech, Hungarian, and Serbian among them--whose histories have been intimately tied to the transition from Soviet domination to the complexities of post-Communist life. This latest volume in the "AFI Film" "Readers" series presents a long-overdue reassessment of East European cinemas from theoretical, psychoanalytic, and gender perspectives, moving the subject beyond the traditional "area studies" approach to the region's films. This ambitious collection, situating Eastern Europe's many cinemas within global paradigms of film study, will be an essential work for all students of cinema and for anyone interested in the relation of film to culture and society.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Anikó Imre is research associate at the Amsterdam School of Cultural Analysis.
Inhaltsangabe
Anik Imre, Introduction: East European Cinemas in New Perspectives PART 1: Gender Identity and Representation 1. Katarzyna Marciniak, Second Worldness and Transnational Feminist Practices: Agnieszka Holland's A Woman Alone 2. Marguerite Waller, What's in Your Head: 'History' and 'Nation' in Ibolya Fekete's Bolse vita and Ghetto Art's Making the Walls Come Down 3. Tomislav Z. Longinovic, Playing the Western Eye: Balkan Masculinity and Post-Yugoslav-War Cinema 4. El?bieta H. Oleksy, The Politics of Representing Gender in Post-World War II Polish Cinema and Visual Art 5. Petra Hanáková, Voices from Another World: Feminine Space and Masculine Intrusion in Sedmikrásky and Vrazda ing. Certa. PART 2: (Post)modernist Continuities 6. Melinda Szaloky, Somewhere in Europe: Exile and Orphanage in Post-World War II Hungarian Cinema 7. Dusan Bjelic, Global Aesthetics and the Serbian Cinema of the 1990s 8. Catherine Portuges, Traumatic Memory, Jewish Identity: Remapping the Past in Hungarian Cinema 9. Peter Hames, The Ironies of History: The Czech Experience 10. András Bálint Kovács, Gábor Bódy: Precursor of the Digital Age 11. Ágnes Pethö, Chaos, Intermediality, Allegory: The Cinema of Mircea Daneliuc PART 3: Regional Visions 12. KrissRavetto-Biagioli, Reframing Europe's Double Border 13. Roumiana Deltcheva, Reliving the Past in Recent East European Cinemas 14. Christina Stojanova, Fragmented Discourses: Young Cinema from Central and Eastern Europe 15. Dina Iordanova, The Cinema of Eastern Europe: Strained Loyalties, Elusive Clusters
Anik Imre, Introduction: East European Cinemas in New Perspectives PART 1: Gender Identity and Representation 1. Katarzyna Marciniak, Second Worldness and Transnational Feminist Practices: Agnieszka Holland's A Woman Alone 2. Marguerite Waller, What's in Your Head: 'History' and 'Nation' in Ibolya Fekete's Bolse vita and Ghetto Art's Making the Walls Come Down 3. Tomislav Z. Longinovic, Playing the Western Eye: Balkan Masculinity and Post-Yugoslav-War Cinema 4. El?bieta H. Oleksy, The Politics of Representing Gender in Post-World War II Polish Cinema and Visual Art 5. Petra Hanáková, Voices from Another World: Feminine Space and Masculine Intrusion in Sedmikrásky and Vrazda ing. Certa. PART 2: (Post)modernist Continuities 6. Melinda Szaloky, Somewhere in Europe: Exile and Orphanage in Post-World War II Hungarian Cinema 7. Dusan Bjelic, Global Aesthetics and the Serbian Cinema of the 1990s 8. Catherine Portuges, Traumatic Memory, Jewish Identity: Remapping the Past in Hungarian Cinema 9. Peter Hames, The Ironies of History: The Czech Experience 10. András Bálint Kovács, Gábor Bódy: Precursor of the Digital Age 11. Ágnes Pethö, Chaos, Intermediality, Allegory: The Cinema of Mircea Daneliuc PART 3: Regional Visions 12. KrissRavetto-Biagioli, Reframing Europe's Double Border 13. Roumiana Deltcheva, Reliving the Past in Recent East European Cinemas 14. Christina Stojanova, Fragmented Discourses: Young Cinema from Central and Eastern Europe 15. Dina Iordanova, The Cinema of Eastern Europe: Strained Loyalties, Elusive Clusters
Anik Imre, Introduction: East European Cinemas in New Perspectives PART 1: Gender Identity and Representation 1. Katarzyna Marciniak, Second Worldness and Transnational Feminist Practices: Agnieszka Holland's A Woman Alone 2. Marguerite Waller, What's in Your Head: 'History' and 'Nation' in Ibolya Fekete's Bolse vita and Ghetto Art's Making the Walls Come Down 3. Tomislav Z. Longinovic, Playing the Western Eye: Balkan Masculinity and Post-Yugoslav-War Cinema 4. El?bieta H. Oleksy, The Politics of Representing Gender in Post-World War II Polish Cinema and Visual Art 5. Petra Hanáková, Voices from Another World: Feminine Space and Masculine Intrusion in Sedmikrásky and Vrazda ing. Certa. PART 2: (Post)modernist Continuities 6. Melinda Szaloky, Somewhere in Europe: Exile and Orphanage in Post-World War II Hungarian Cinema 7. Dusan Bjelic, Global Aesthetics and the Serbian Cinema of the 1990s 8. Catherine Portuges, Traumatic Memory, Jewish Identity: Remapping the Past in Hungarian Cinema 9. Peter Hames, The Ironies of History: The Czech Experience 10. András Bálint Kovács, Gábor Bódy: Precursor of the Digital Age 11. Ágnes Pethö, Chaos, Intermediality, Allegory: The Cinema of Mircea Daneliuc PART 3: Regional Visions 12. KrissRavetto-Biagioli, Reframing Europe's Double Border 13. Roumiana Deltcheva, Reliving the Past in Recent East European Cinemas 14. Christina Stojanova, Fragmented Discourses: Young Cinema from Central and Eastern Europe 15. Dina Iordanova, The Cinema of Eastern Europe: Strained Loyalties, Elusive Clusters
Anik Imre, Introduction: East European Cinemas in New Perspectives PART 1: Gender Identity and Representation 1. Katarzyna Marciniak, Second Worldness and Transnational Feminist Practices: Agnieszka Holland's A Woman Alone 2. Marguerite Waller, What's in Your Head: 'History' and 'Nation' in Ibolya Fekete's Bolse vita and Ghetto Art's Making the Walls Come Down 3. Tomislav Z. Longinovic, Playing the Western Eye: Balkan Masculinity and Post-Yugoslav-War Cinema 4. El?bieta H. Oleksy, The Politics of Representing Gender in Post-World War II Polish Cinema and Visual Art 5. Petra Hanáková, Voices from Another World: Feminine Space and Masculine Intrusion in Sedmikrásky and Vrazda ing. Certa. PART 2: (Post)modernist Continuities 6. Melinda Szaloky, Somewhere in Europe: Exile and Orphanage in Post-World War II Hungarian Cinema 7. Dusan Bjelic, Global Aesthetics and the Serbian Cinema of the 1990s 8. Catherine Portuges, Traumatic Memory, Jewish Identity: Remapping the Past in Hungarian Cinema 9. Peter Hames, The Ironies of History: The Czech Experience 10. András Bálint Kovács, Gábor Bódy: Precursor of the Digital Age 11. Ágnes Pethö, Chaos, Intermediality, Allegory: The Cinema of Mircea Daneliuc PART 3: Regional Visions 12. KrissRavetto-Biagioli, Reframing Europe's Double Border 13. Roumiana Deltcheva, Reliving the Past in Recent East European Cinemas 14. Christina Stojanova, Fragmented Discourses: Young Cinema from Central and Eastern Europe 15. Dina Iordanova, The Cinema of Eastern Europe: Strained Loyalties, Elusive Clusters
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