The Routledge Companion to European Cinema (Routledge Media and Cultural Studies Companions)

Presenting new and diverse scholarship, this wide-ranging collection of 43 original chapters asks what European cinema tells us about Europe. 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. The Companion 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. Cover Half Title Title Page Copyright Page Table of Contents List of figures Contributors Introduction Part I A first dialogical cluster: European cinema speaking about Europe: Through explorations of sexualities, identities, migration and the crisis of modernity Chapter 1 Post-communist nostalgia in new Bulgarian cinema as a social critique: Mediated post-communist nostalgia Chapter 2 Slow Slippy: Still shite being Scottish? T2: Trainspotting and the ‘Scottish European’ Chapter 3 Beauty and historical understanding in Suspiria and Cold War Chapter 4 ‘Europe was built on blood’: Christian Petzold as a European filmmaker Chapter 5 Europe wounded? Politics of hope and resistance in Vincent Dieutre’s Orlando Ferito (2013) Chapter 6 Lilting and the entangled temporalities of Europe(an cinema) Chapter 7 New ways of looking: The case of Maren Ade, Valeska Grisebach and Małgorzata Szumowska Chapter 8 The ebbs and flows of girlhood experience across European cinema Chapter 9 ‘Dream on princess’: Cultural value, gender politics and the Hungarian film canon through the documentary Pretty Girls Chapter 10 European ecology-documentaries as performative exchange Chapter 11 Following the flâneur Hulot in Playtime: Soundscape of the new Paris Chapter 12 Ágata’s (filmmaking) girlfriends: The new wave of women directors in Catalonia Chapter 13 The Bourne multiplicity: Quantum Europeanness in the Bourne films (2002–2016) Chapter 14 Noisy presences in contemporary European Cinema: Paris est une fête: un film en 18 vagues  Chapter 15 Gay male sex, carnal knowledge and realism in contemporary French cinema Chapter 16 Eden is West, Europe as a magic trick Part II A second dialogical cluster: Cinema and its industry, national transnationalisms: Actors, studios and cross-overs Chapter 17 Omar Sharif: A European Middle Eastern star Chapter 18 Weakened nationalism and thickened time: Interrogating the position of Kurdish cinema within European cinema discussions Chapter 19 Why small European film industries remake each other’s successes: The case of the Low Countries Chapter 20 European collaboration after World War Two: A Tale of Five Cities (M. Tully, R. Marcellini, W. Staudte, G. von Cziffra, E. E. Reinert, 1948–1951) Chapter 21 A film ‘highly offensive to our nation’: Stanley Kubrick’s Paths of Glory (1957), censorship and militaristic representations of post-war Europe Chapter 22 Europe comes to Hollywood: The silent era, 1912–1927 Chapter 23 The non-professional actor in European cinema Chapter 24 The (cultural) politics of international co-production: Morocco and Europe Chapter 25 British comedy in a foreign light: looking at the trope of British comedy through the lens of émigré filmmakers Chapter 26 Corporate consolidation, artistic conservatism and the persistence of Hollywood: The European film industry, 2006–2020 Chapter 27 ‘Boyish’ women and female soldiers: British gender disguise comedies between the world wars Chapter 28 Fred Zinnemann: A Hollywood director who never leaves Europe Part III A third dialogical cluster: European cinema and the myth of a unifying and pluralist Europe: Through explorations of borders, genres and histories Chapter 29 Framing fundamentalism in contemporary European film Chapter 30 Gangster films reloaded: European values and the criminal spectre of late modernity Chapter 31 Films at the intersection of Europe, the Balkans and transgender visibility: A sketch map Chapter 32 Two-speed economic systems and bipolarity in the European Union: Frontier spaces in Valeska Grisebach’s Western Chapter 33 Film topography and national belonging: Hungarian Jewishness and the high mountains Chapter 34 Identity and belonging in the bordered spaces of Gatlif’s Indignados (2012) and Geronimo (2014) Chapter 35 Accented silences: The aesthetics of displacement in diasporic post-Yugoslav cinema Chapter 36 Resisting the traps of hegemony: Variation in contemporary German queer of color cinema Chapter 37 Lisbon on film, 1980–2020: Locating Europe Chapter 38 ‘We live like swine and die like swine, because we mean nothing to each other’: The little person, the state and nationhood in contemporary Russian film Chapter 39 Family, memories and borders: Europe in the films of Stephan Komandarev Chapter 40 Neoliberal authorship: Auteur theory and European art cinema in 2021 – The example of Paweł Pawlikowski Chapter 41 Queer bodies and the death drive: Gender and sexuality in Italian giallo Chapter 42 Political discourse and rhetoric: Challenging twenty-first-century populism in Chez nous/This Is Our Land  Chapter 43 Recovering memory, reasserting Europeanness: Modern Convivencia and Hispanotropicalism in Palm Trees in the Snow (2015) and Neckan (2014) Index Post-communist nostalgia in new Bulgarian cinema as a social critique : mediated post-communist nostalgia / Antonina Anisimovich -- Slow slippy : still shite being Scottish? T2 : Trainspotting and the 'Scottish European' / Kyle Barrett -- Beauty and historical understanding in Suspiria and Cold War / Louis Bayman -- 'Europe was built on blood' : Christian Petzold as a European filmmaker / Cordula Böcking -- Europe wounded? Politics of hope and resistance in Vincent Dieutre's Orlando Ferito (2013) / Tom Cuthbertson -- Lilting and the entangled temporalities of Europe(an cinema) / MaoHui Deng -- New ways of looking : the case of Maren Ade, Valeska Grisebach and Małgorzata Szumowska / Owen Evans -- The ebbs and flows of girlhood experience across European cinema / Fiona Handyside and Danielle Hipkins -- 'Dream on princess' : cultural value, gender politics, and the Hungarian film canon through the documentary Pretty girls / Julia Havas -- European ecology-documentaries as performative exchange / Susan Hayward -- Following the Flâneur Hulot in Playtime : soundscape of the new Paris / Seda Öz -- Ágata's (filmmaking) girlfriends : the new wave of women directors in Catalonia / Cristina Ruiz-Poveda Vera -- The Bourne multiplicity : quantum Europeanness in the Bourne films (2002-16) / Rob Stone -- Noisy presences in contemporary European cinema : Paris est une fête : un film en 18 vagues / Emilija Talijan -- Gay male sex, carnal knowledge and realism in contemporary French cinema / Connor Winterton -- Eden is West, Europe as a magic trick / Cecilia Zoppelletto -- Omar Sharif : a European Middle Eastern star / Samar Abdel-Rahman -- Weakened nationalism and thickened time : interrogating the position of Kurdish cinema within European cinema discussions / Özgür Çiçek -- Why small European film industries remake each other's successes : the case of the Low Countries / Eduard Cuelenaere, Stijn Joye & Gertjan Willems -- European collaboration after the Second World War : a tale of five cities (M. Tully, R. Marcellini, W. Staudte, G. von Cziffra, E.E. Reinert, 1948-1951) / Hanja Dämon -- A film 'highly offensive to our nation' : Stanley Kubrick's Paths of glory (1957), censorship, and militaristic representations of post-war Europe / James Fenwick -- Europe comes to Hollywood : the silent era, 1912-1927 / Agata Frymus -- The non-professional actor in European cinema / Miguel Gaggiotti -- The (cultural) politics of international co-production : Morocco and Europe / Will Higbee -- British comedy in foreign light-- looking at the trope of British comedy through the lens of émigré filmmakers / Anna Mártonfi -- Corporate consolidation, artistic conservatism and the persistence of Hollywood : the European film industry, 2006-2020 / Christopher Meir -- 'Boyish' women and female soldiers : British gender disguise comedies between the world wars / Chris O'Rourke -- Fred Zinnemann : a Hollywood director who never leaves Europe / John White -- Framing fundamentalism in contemporary European film / Kaya Davies Hayon -- Gangster film reloaded : European values and the criminal specter of late modernity / Giuseppe Fidotta -- Films at the intersection of Europe, the Balkans, and transgender visibility : a sketch map / Alex Forbes -- Two-speed economic systems and bipolarity in the European Union : frontier spaces in Valeska Grisebach's Western / Luis Freijo -- Film topography and national belonging : Hungarian Jewishness and The high mountains / Gábor Gergely -- Identity and belonging in the bordered spaces of Gatlif's Indignados (2012) and Geronimo (2014) / Tamsin Graves -- Accented silences : the aesthetics of displacement in diasporic post-Yugoslav cinema / Igor Krstić -- Resisting the traps of hegemony : variation in contemporary German queer of color cinema / Priscilla Layne and Ervin Malakaj -- Lisbon on film 1980-2020 : locating Europe / Mariana Liz -- 'We live like swine and die like swine, because we mean nothing to each other' : the little person, the state, and nationhood in contemporary Russian film / Adelaide McGinity-Peebles -- Family, memories and borders--Europe in the films of Stephan Komandarev / Maya Nedyalkova -- Neoliberal authorship : auteur theory and European art cinema in 2021-- the example of Paweł Pawlikowski / Joanna Rydzewska -- Queer bodies and the death drive : gender and sexuality in Italian Giallo / Daniel Sheppard and Giuseppe Previtali -- Political discourse and rhetoric : challenging 21st century populism in Chez nous/This is our land (Lucas Belvaux, 2017) / Jamie Nicholas Steele -- Recovering memory, reasserting Europeanness. Modern convivencia and hispanotropicalism in Palm trees in the snow (2015) and Neckan (2015) / Marta F. Suarez "This Companion's guiding vision of Europe is that of a messy place or idea that emerges from multiple images from multiple perspectives and multiple positions. To adopt Italo Calvino's phrase, European cinema is the product of a 'collection of voices' coming together as a 'multiple discovery' of various Europes and cinemas. Europe is imprecisely circumscribed, in a permanent state of transition, transformation and contestation, deployed in the service of varied interests, in shifting contexts of power, never self-same, nor reducible to something fixed, legible, or knowable. Film scholarship in and/or about Europe published in English has paid far greater attention to some issues than others. French, Italian and German cinema have been centred as Europe's core cinemas. This book is not intended to make up for this historic bias in one swoop. It is offered instead as a way of engaging 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. This Companion embraces messiness by refusing to impose any other prior interpretation on Europe or its cinema. This book asks - rather than prescribes - what European cinema tells us about Europe. This latter is understood with an open mind as the broad, complex and heterogeneous community/ies produced in and by European films. This large and flexible label takes in Kurdish, Hollywood and Singapore cinema as comfortably as the cinema of Poland, Spanish colonial films or the European gangster genre. Individual films (e.g., Vincent Deutre's Orlando Ferito, 2013), film movements (e.g., Neo-Queer Cinema), filmmakers (e.g., Fred Zinnemann), stars (e.g., Omar Sharif), scholarship (e.g., Hungarian film historiography), representations and identities (e.g., German queer of colour cinema), audiences (e.g., Bulgarian viewers of Stephan Komandarev's films), production practices (e.g., Moroccan film funding), genres (e.g., the Giallo) and much else are analysed in their context(s) so as to construct an image of Europe as it emerges from Europe's film corpus"-- Provided by publisher Presenting New And Diverse Scholarship, This Wide-ranging Collection Of Forty-three Original Chapters Asks What European Cinema Tells Us About Europe. 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. The Companion Opens The Study Of European Cinema To A Broad Readership, 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. Presenting new and diverse scholarship, this wide-ranging collection of 43 original chapters asks what European cinema tells us about Europe. The __Companion__ 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.