Frontmatter -- Contents -- Figures -- Notes on Contributors -- Acknowledgements -- Introduction: East, West and Centre: 'Mapping Post-1989 European Cinema' -- Part I Redrawing the Lines: De/Recentring Europe -- 1 The Berlin Wall Revisited: Reframing Historical Space between East and West in Cynthia Beatts's Cycling the Frame (1988), The Invisible Frame (2009) and Bartosz Konopka's Rabbit à la Berlin (2009) -- 2 Changing Sides: East/West Travesties in Lionel Baier's Comme des voleurs (à l'est) -- 3 Dubbing and Doubling Over: The Disorientation of France in the Films of Michael Haneke and Krzysztof Kieślowski -- 4 Challenging the East-West Divide in Ulrich Seidl's Import Export (2007) -- 5 Fatih Akın's Filmic Visions of a New Europe: Spatial and Aural Constructions of Europe in Im Juli/In July (2000) -- 6 Salami Aleikum - The 'Near East' Meets the 'Middle East' in Europe -- 7 Cinematic Fairy Tales of Female Mobility in Post-Wall Europe: Hanna v. Mona -- Part II Border Spaces, Eastern Margins and Eastern Markets: Belonging and the Road to/from Europe -- 8 Contemporary Bulgarian Cinema: From Allegorical Expressionism to Declined National Cinema -- 9 The Point of No Return: From Great Expectations to Great Desperation in New Romanian Cinema -- 10 'Weirdness', Modernity and the Other Europe in Attenberg (2010, Athina Rachel Tsangari) -- 11 Lithuania Redirected: New Connections, Businesses and Lifestyles in Cinema since 2000 -- 12 Lessons of Neo-liberalism: Co-productions and the Changing Image of Estonian Cinema -- 13 Decentring Europe from the Fringe: Reimagining Balkan Identities in the Films of the 1990s -- Part III Spectres of the East -- 14 Through the Lens of Black Humour: A Polish Adam in the Post-Wall World -- 15 East Germany Revisited, Reimagined, Repositioned: Representing the GDR in Dominik Graf 's Der rote Kakadu (2005) and Christian Petzold's Barbara (2012) -- 16 Barluschke: Towards an East-West Schizo-history -- 17 The Limits of Nostalgia and (Trans) National Cinema in Cum mi-am petrecut sfârşitul lumii (2006) -- 18 The Ideal of Ararat: Friendship, Politics and National Origins in Robert Guédiguian's Le Voyage en Arménie -- Notes -- Bibliography -- Index

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Re-examines notions of East and West in contemporary European cinemaTwenty-five years have passed since the fall of the Berlin Wall and the end of communism in Eastern Europe, and ten years have passed since the first formerly communist states entered the E.U. An entire post-Wall generation has now entered adulthood, yet scholarship on European cinema still tends to divide the continent along the old Cold War lines.In East West and Centre the world's leading scholars in the field assemble to consider the ways in which notions such as East and West, national and transnational, central and marginal are being rethought and reframed in contemporary European cinema. Assessing the state of post-1989 European cinema, from (co)production and reception trends to filmic depictions of migration patterns, economic transformations and socio-political debates over the past and the present, they address increasingly intertwined cinema industries that are both central (France and Germany) and marginal in Europe (Romania, Bulgaria, Lithuania).This is a ground-breaking and essential read, not just for students and scholars in film and media studies, but also for those interested in wider European studies as well.Read the introduction for free Key FeaturesThe most comprehensive investigation of Central European cinema in the early 21st centuryContributions address recent films from or about Bulgaria, France, Germany, Lithuania, and RomaniaIntroduces readers to new films and directors from different national and transnational cinemas"

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)