A Companion to Eastern European Cinemas by Anikó Imre

By Anikó Imre

A significant other to jap ecu Cinemas showcases twenty-five essays written by way of tested and rising movie students that hint the historical past of jap eu cinemas and provide an updated review of post-socialist movie cultures.

  • Showcases serious historic paintings and updated exams of post-socialist movie cultures
  • Features attention of lesser identified parts of research, akin to Albanian and Baltic cinemas, well known style motion pictures, cross-national distribution and aesthetics, animation and documentary
  • Places the cinemas of the zone in a ecu and international context
  • Resists the chilly struggle type of japanese ecu cinemas as “other” paintings cinemas by way of reconnecting them with the most flow of movie studies
  • Includes dialogue of such motion pictures as Taxidermia, El Perro Negro, 12:08 East of Bucharest monstrous Tõll, and Breakfast at the Grass and explores the paintings of administrators together with Tamás Almási, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej ?u?awski, and Karel Vachek among many others

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His shop is cluttered and claustrophobic, a grotesque menagerie of stuffed animals of all sorts, much like a real taxidermist’s workshop (Milgrom, 2010). There is also a Michael Jackson poster on the wall, reminding us of how Hungary has been entirely incorporated into global capitalist culture. Lajos does not seem to have much of a life. Every day he follows the same routine. After completing his meticulous taxidermical labors and shutting up his shop he goes to the supermarket. He buys the same items, in the same quantities, every day – 30 kilos of margarine and 800 candy bars – at a total cost of HUF 38 526.

Indd 20 7/4/2012 5:10:37 AM Eastern European Cinema From No End to the End 21 Foucault, M. (1998) Aesthetics, Method, and Epistemology (Essential Works of Foucault), Vol. 2 (ed. D. Faubion, trans. R. ). The New Press, New York. Gazdaság, N. (2011) Sokkal többet költenek a külföldi stábok nálunk, mint tavaly. hu/kultur/cinematrix/ccikkek/2011/02/04/sokkal_tobbet_ koltenek_a_kulfoldi_stabok_nalunk_mint_tavaly/ (accessed December 6, 2011). Higson, A.  H, Mette and S. MacKenzie). Routledge, London, pp.

Indd 16 7/4/2012 5:10:37 AM Eastern European Cinema From No End to the End 17 three distinct periods, which are nevertheless interwoven by continuities: film production during communism, in the interim period between the fall of the Berlin Wall and 1998, and the “post-Pyramid” period that stretches from then to the present. The discussion, while it gives a thorough introduction to the major filmmakers and their work, such as Kujtim Çashku, Mevlan Shanaj, and Vladimir Prifti, three veterans of the Communist Kinostudio, and Gjergj Xhuvani and Fatmir Koçi, more recent directors whose work is internationally known, is not limited to film itself: it places films at the cross-section of the training of film professionals, the role of domestic and international film festivals, and scholarly work on Albanian cinema.

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