Table of Contents
Notes on the Editor and Contributors viii
Foreword xv Dina Iordanova
1 Introduction: Eastern European Cinema From No End to the End (As We Know It) 1 Anikó Imre
Part I New Theoretical and Critical Frameworks 23
2 Body Horror and Post-Socialist Cinema: György Pálfi’s Taxidermia 25 Steven Shaviro
3 El perro negro : Transnational Readings of Database Documentaries from Spain 41 Marsha Kinder
4 Did Somebody Say Communism in the Classroom? or The Value of Analyzing Totality in Recent Serbian Cinema 63 Zoran Samardzija
5 Laughing into an Abyss: Cinema and Balkanization 77 Kriss Ravetto-Biagioli
6 Jewish Identities and Generational Perspectives 101 Catherine Portuges
7 Aftereffects of 1989: Corneliu Porumboiu’s 12:08 East of Bucharest (2006) and Romanian Cinema 125 Alice Bardan
8 Cinema Beyond Borders: Slovenian Cinema in a World Context 148 Meta Mazaj and Shekhar Deshpande
Part II Historical and Spatial Redefinitions 167
9 Center and Periphery, or How Karel Vachek Formed a New Government 169 Alice Lovejoy
10 The Polish Black Series Documentary and the British Free Cinema Movement 183 Bjørn Sørenssen
11 Socialists in Outer Space: East German Film’s Venusian Adventure 201 Stefan Soldovieri
12 Red Shift: New Albanian Cinema and its Dialogue with the Old 224 Bruce Williams
13 National Space, (Trans)National Cinema: Estonian Film in the 1960s 244 Eva Näripea
14 For the Peace, For a New Man, For a Better World! Italian Leftist Culture and Czechoslovak Cinema, 1945–1968 265 Francesco Pitassio
Part III Aesthetic (Re)visions 289
15 The Impossible Polish New Wave and its Accursed Émigré Auteurs: Borowczyk, Polañski, Skolimowski, and Żuławski 291 Michael Goddard
16 Documentary and Industrial Decline in Hungary: The “Ózd Series” of Tamás Almási 311 John Cunningham
17 Investigating the Past, Envisioning the Future: An Exploration of Post-1991 Latvian Documentary 325 Maruta Z. Vitols
18 Eastern European Historical Epics: Genre Cinema and the Visualization of a Heroic National Past 344 Nikolina Dobreva
19 Nation, Gender, and History in Latvian Genre Cinema 366 Irina Novikova
20 A Comparative Study: Rein Raamat’s Big Tõll and Priit Pärn’s Luncheon on the Grass 385 Andreas Trossek
21 The Yugoslav Black Wave: The History and Poetics of Polemical Cinema in the 1960s and 1970s in Yugoslavia 403 Greg De Cuir, Jr .
Part IV Industries and Institutions 425
22 Follow the Money – Financing Contemporary Cinema in Romania 427 Ioana Uricaru
23 An Alternative Model of Film Production: Film Units in Poland after World War Two 453 Dorota Ostrowska
24 The Hussite Heritage Film: A Dream for all Czech Seasons 466 Petra Hanáková
25 International Co-productions as Productions of Heterotopias 483 Ewa Mazierska
26 East is East? New Turkish Cinema and Eastern Europe 504 Melis Behlil
Index 518