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Liberated Cinema
Originally published in 1985, Liberated Cinema: The Yugoslav Experience received the first annual "Close-up" award from the Yugoslav Film Institute in 1986 for "outstanding scholarship and for promoting the values of Yugoslav film art internationally." This new edition has been revised and updated throughout. It has been expanded to complete the story of the new Yugoslav cinema of the 1980s and to address major film developments that have taken place in the former Yugoslavia's five successor states. As in his analysis of past periods of Yugoslav cinema, Goulding situates the most recent developments within the context of film economics, state subsidies, and changing patterns of political control. Most significantly, however, he provides an insightful discussion of the ways in which critically important domestic feature films produced or co-produced from 1991 to 2001 reflect on recent brutal internecine warfare and other contemporary social, cultural, and political realities after the breakup of Yugoslavia.
Eastern Europe
Eastern Europe addresses the emergence of uncertain pluralism in the region following the disintegration of the communist regimes in 1989. Taking a broad historical approach, the volume considers issues and challenges that have marked Eastern Europe from 1939 through World War II and the era of socialism, up to the present. Eight comprehensive country studies are augmented by detailed assessments of economic developments, security issues, religious currents, cultural policies, and gender relations in the region.
Remembering Utopia
"The history of socialism lacks close accounts of the texture of life in the margins of society, which include narratives of the feelings, experiences and practices of ordinary people. This book provides them and undermines persisting interpretations of 'real' life under socialism, which rely on macro-studies of social structures and on the political and institutional histories of socialism. As such, the book is also an attempt to de-Westernize the discourse on Central/ Eastern Europe as Europe's periphert or its Orient. The culture of memory is evoked either through oral traditions or textual analyses of records of the public discourse. Both facets contribute to a cultural history of the era of socialism in Yugoslavia between 1945 and 1980 (Tito's death)" -- from back cover.
From Self-fulfilment to Survival of the Fittest
Contrary to the assumption that Western and Eastern European economies and cinemas were very different from each other, they actually had much in common. After the Second World War both the East and the West adopted a mixed system, containing elements of both socialism and capitalism, and from the 1980s on the whole of Europe, albeit at an uneven speed, followed the neoliberal agenda. This book examines how the economic systems of the East and West impacted labor by focusing on the representation of work in European cinema. Using a Marxist perspective, it compares the situation of workers in Western and Eastern Europe as represented in both auteurist and popular films, including those of Tony Richardson, Lindsay Anderson, Jean-Luc Godard, Andrzej Wajda, DušanMakavejev, Jerzy Skolimowski, the Dardenne Brothers, Ulrich Seidl and many others.
Before the Wall Came Down
Proceedings of a conference on the topic of Soviet and East European film makers working in the West held at McMaster University in Ontario in March 1989. The volume considers Soviet, Polish, Czech and Hungarian cinema, with particular emphasis on the films by Milos Forman and Jerzy Skolimowski.
The Real Gaze
Winner of the 2008 Gradiva Award, Theoretical Category, presented by the National Association for the Advancement of Psychoanalysis The Real Gaze develops a new theory of the cinema by rethinking the concept of the gaze, which has long been central in film theory. Historically film scholars have located the gaze on the side of the spectator; however, Todd McGowan positions it within the filmic image, where it has the radical potential to disrupt the spectator's sense of identity and challenge the foundations of ideology. This book demonstrates several distinct cinematic forms that vary in terms of how the gaze functions within the films. Through a detailed investigation of directors such as Orson Welles, Claire Denis, Stanley Kubrick, Spike Lee, Federico Fellini, Ron Howard, Steven Spielberg, Andrei Tarkovsky, Wim Wenders, and David Lynch, McGowan explores the political, cultural, and existential ramifications of these differing roles of the gaze.
It Looks At You
This is a study of the "returned gaze" from the cinema screen, demonstrating that the films that we watch watch us, guide us, control our gaze, and enforce societal codes.
Saviours of the Nation?
Yugoslavia's breakup in 1991, and the wars in Croatia, Bosnia and Kosovo that followed in its wake, have been widely blamed on Serbian nationalism. Most analyses have not examined this nationalism in the years before Slobodan Miloševićs' rise to power, when its principal articulators were dissident intellectuals. This book traces the trajectory of intellectual opposition to Serbian nationalism from its origins in the 1950s to its consolidation in the 1980s, arguing that the acceptance of Milošević's undemocratic approach to the national question undermined the intellectual opposition's ability to present a convincing political alternative and was crucial in allowing the regime to continue. -- book cover.
Post-Communist Malaise
Post-Communist Malaise examines political modernism within the context of post-communist Eastern Europe and the Balkans. It focuses on how select cinemas from the regions critique European unification and how they represent related issues like the transition from communism to free-market capitalism, the Euro crisis and austerity, and the rise of nationalism and right-wing politics.
