THE ROUTLEDGE COMPANION TO EUROPEAN CINEMA

<p>Presenting new and diverse scholarship, this wide-ranging collection of 43 original chapters asks what European cinema tells us about Europe. </p><p>The book engages with European cinema that attends to questions of European colonial, racialized and gendered power; seeks to decentre Europe itself (not merely its putative centres); and interrogate Europe’s various conceptualizations from a variety of viewpoints. It explores the broad, complex and heterogeneous community/ies produced in and by European films, taking in Kurdish, Hollywood and Singapore cinema as comfortably as the cinema of Poland, Spanish colonial films or the European gangster genre. Chapters cover numerous topics, including individual films, film movements, filmmakers, stars, scholarship, representations and identities, audiences, production practices, genres and more, all analysed in their context(s) so as to construct an image of Europe as it emerges from Europe’s film corpus.</p><p>The <em>Companion</em> opens the study of European cinema to a broad readership and is ideal for students and scholars in film, European studies, queer studies and cultural studies, as well as historians with an interest in audio-visual culture, nationalism and transnationalism, and those working in language-based area studies.</p> <p>Introduction <b>Part I: A first dialogical cluster: European cinema speaking about Europe: Through explorations of sexualities, identities, migration and the crisis of modernity </b>1.<b> </b><i>Post-communist nostalgia in new Bulgarian cinema as a social critique: Mediated post-communist nostalgia</i> 2. <i>Slow Slippy: Still shite being Scottish? </i>T2: Trainspotting<i> and the ‘Scottish European’</i><b> </b>3. <i>Beauty and historical understanding in </i>Suspiria<i> and </i>Cold War<b> </b>4.<i> ‘Europe was built on blood’: Christian Petzold as a European filmmaker</i><b> </b>5.<strong> </strong><i>Europe wounded? Politics of hope and resistance in Vincent Dieutre’s </i>Orlando Ferito<i> (2013) </i>6.<b><i> </i></b>Lilting <i>and the entangled temporalities of Europe(an cinema)</i> 7. <i>New ways of looking: The case of Maren Ade, Valeska Grisebach and Małgorzata Szumowska </i>8.<b> </b><i>The ebbs and flows of girlhood experience across European cinema </i>9. <i>‘Dream on princess’: Cultural value, gender politics and the Hungarian film canon through the documentary </i>Pretty Girls 10. <i>European ecology-documentaries as performative exchange </i>11. <em>Following the </em>flâneur<i> Hulot in </i>Playtime<i>: Soundscape of the new Paris </i>12. <i>Ágata’s (filmmaking) girlfriends: The new wave of women directors in Catalonia </i>13.<b> </b><i>The Bourne multiplicity: Quantum Europeanness in the Bourne films (2002-2016) </i>14. <em>Noisy presences in contemporary European Cinema: </em>Paris est une fête: un film en 18 vagues 15.<b> </b><i>Gay male sex, carnal knowledge and realism in contemporary French cinema </i>16. Eden is West, <i>Europe as a magic trick </i><b>Part II: A second dialogical cluster: Cinema and its industry, national transnationalisms: Actors, studios and cross-overs </b>17. <i>Omar Sharif: A European Middle Eastern star </i>18. <i>Weakened nationalism and thickened time<strong>: </strong>Interrogating the position of Kurdish cinema within European cinema discussions </i>19. <em>Why small European film industries remake each other’s successes: The case of the Low Countries</em> 20.<b> </b><i>European collaboration after World War Two: </i>A Tale of Five Cities<em> (M. Tully, R. Marcellini, W. Staudte, G. von Cziffra, E. E. Reinert, 1948</em><em>—</em><em>1951) </em>21.<b> </b><i>A film ‘highly offensive to our nation’: Stanley Kubrick’s </i>Paths of Glory<i> (1957), censorship, and militaristic representations of post-war Europe </i>22. <i>Europe comes to Hollywood: The silent era, 1912—1927</i> 23. <i>The non-professional actor in European cinema </i>24.<b> </b><i>The (cultural) politics of international co-production: Morocco and Europe </i>25.<b> </b><i>British comedy in a foreign light: Looking at the trope of British comedy through the lens of émigré filmmakers </i>26.<b> </b><em>Corporate consolidation, artistic conservatism and the persistence of Hollywood: The European film industry, 2006</em><em>—</em><em>2020 </em>27.<b> </b><i>‘Boyish’ women and female soldiers: British gender disguise comedies between the world wars </i>28. <i>Fred Zinnemann: A Hollywood director who never leaves Europe </i><b>Part III: A third dialogical cluster: European cinema and the myth of a unifying and pluralist Europe: Through explorations of borders, genres and histories </b>29.<b> </b><i>Framing fundamentalism in contemporary European film </i>30.<b> </b><i>Gangster films reloaded: European values and the criminal spectre of late modernity </i>31. <i>Films at the intersection of Europe, the Balkans and transgender visibility: A sketch map </i>32.<b> </b><i>Two-speed economic systems and bipolarity in the European Union: Frontier spaces in Valeska Grisebach’s </i>Western<b><i> </i></b>33.<b> </b><i>Film topography and national belonging: Hungarian Jewishness </i><i>and the high mountains </i>34. <i>Identity and belonging in the bordered spaces of Gatlif’s </i>Indignados <i>(2012)</i> <i>and</i> Geronimo <i>(2014)</i> 35.<b> </b><b> </b><i>Accented silences: The aesthetics of displacement in diasporic post-Yugoslav cinema </i>36.<b> </b><i>Resisting the traps of hegemony: Variation in contemporary German queer of color cinema </i>37.<b> </b><em>Lisbon on film 1980-2020</em><em>: Locating Europe </em>38.<b> </b><em>‘We live like swine and die like swine, because we mean nothing to each other’: The</em> little person<em>, the state and nationhood in contemporary Russian film</em> 39.<b> </b><i>Family, memories and borders: Europe in the films of Stephan Komandarev </i>40. <i>Neoliberal authorship: Auteur theory and European art cinema in 2021 — The example of Paweł Pawlikowski </i>41.<b> </b><em>Queer bodies and the death drive: Gender and sexuality in Italian </em>giallo 42. <i>Political discourse and rhetoric: Challenging twenty-first century populism in </i>Chez nous/This Is Our Land<i> </i>43.<b> </b> <em>Recovering memory, reasserting Europeanness. Modern </em>Convivencia<em> and </em>Hispanotropicalism<em> in </em>Palm Trees in the Snow<i> (2015) and </i>Neckan<i> (2014)</i></p>