This book presents a comprehensive re-examination of the cinemas of the Soviet Union and Central and Eastern Europe during the communist era. It argues that, since the end of communism in these countries, film scholars are able to view these cinemas in a different way, no longer bound by an outlook relying on binary Cold War terms. With the opening of archives in Eastern Europe and the former Soviet Union, much more is known about these states and societies; at the same time, the field has been reinvigorated by its opening up to more contemporary concepts, themes and approaches in film studies and adjacent disciplines. Taking stock of these developments, this book presents a rich, varied tapestry, relating specific films to specific national and transnational circumstances, rather than viewing them as a single, monolithic "Cold War Communist" cinema.
Table of Contents
Introduction Sanja Bahun and John Haynes Part 1: On Spaces and Nations 1. Squeezing Space, Releasing Space: Spatial Research in the Study of Eastern European Cinema Ewa Mazierska 2. Thinking again about Cold War Cinema Lilya Kaganovsky 3. Incommensurable Distance: Versions of National Identity in Georgian Soviet Cinema Dušan Radunović Part 2: Ideologies of Representation 4. Mirrors of Death: Subversive Subtexts in Bulgarian Cinema, 1964 –1979 Evgenija Garbolevsky 5. Popular Cinema in Late 1960s Romania Monica Filimon 6. Stalinist Cinema and the Search for Audiences: Liubov¢ Orlova and the Case for Star Studies John Haynes Part 3: (Re)recordings, (Re)focusings, (Re)discoveries 7. The Political Camera: Comparing 1956 in Three Moments of Hungarian History Catherine Portuges 8. Back to the Archives: The Testimonial Power of Soviet Silent Footage of the Holocaust Jeremy Hicks 9. The Human and the Possible: Animation in Central and Eastern Europe Sanja Bahun
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
"This incredibly wide-ranging collection is distinguished by the unusual topics chosen by its nine contributors. Such a broad scope all too often leads to a diffuseness of focus that makes acquiring the volumes a difficult decision. Here, however, the contributions break new and important ground and warrant the most serious consideration by students of film." --S. Liebman, CUNY Graduate Center
Summing Up: Highly recommended. Upper-division undergraduates through faculty - CHOICE