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East, West and Centre

Reframing post-1989 European Cinema

Edited by Michael Gott, Todd Herzog

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Re-examines notions of East and West in contemporary European cinema

Twenty-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 EU. 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.

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Contents

List of Figures 
Notes on Contributors
Acknowledgements 

Introduction: East, West and Centre: ‘Mapping Post-1989 European Cinema’ 
Michael Gott and Todd Herzog

Part I Redrawing the Lines: De/Recentring Europe  

1 The Berlin Wall Revisited: Reframing Historical Space Between East and in Cynthia Beatts’s Cycling the Frame (1988), The Invisible Frame (2009) and Bartosz Konopka’s Rabbit à la Berlin (2009) 
Jenny Stümer

2 Changing Sides: East/West Travesties in Lionel Baier’s Comme des voleurs (à l’est) 
Kris Van Heuckelom

3 Dubbing and Doubling Over: The Disorientation of France in the Films of Michael Haneke and Krzysztof Kieślowski 
Alison Rice

4 Challenging the East–West Divide in Ulrich Seidl’s Import Export (2007) 
Nikhil Sathe

5 Fatih Akın’s Filmic Visions of a New Europe: Spatial and Aural Constructions of Europe in Im Juli/In July (2000) 
Berna Gueneli

6 Salami Aleikum – The ‘Near East’ Meets the ‘Middle East’ in Central Europe 
Alexandra Ludewig

7 Cinematic Fairy Tales of Female Mobility in Post-Wall Europe: Hanna v. Mona 
Aga Skrodzka

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 
Temenuga Trifonova

9 The Point of No Return: From Great Expectations to Great Desperation in New Romanian Cinema 
Lucian Georgescu

10 ‘Weirdness’, Modernity and the Other Europe in Attenberg (2010, Athina Rachel Tsangari) 
Jun Okada

11 Lithuania Redirected: New Connections, Businesses and Lifestyles in Cinema since 2000 
Renata Šukaitytė

12 Lessons of Neo-liberalism: Co-productions and the Changing Image of Estonian Cinema 
Eva Näripea

13 Decentring Europe from the Fringe: Reimagining Balkan Identities in the Films of the 1990s 
Danica Jenkins and Kati Tonkin

Part III Spectres of the East

14 Through the Lens of Black Humour: A Polish Adam in the Post-Wall World 
Rimma Garn

15 East Germany Revisited, Reimagined, Repositioned: Representing the GDR in Dominik Graf’s Der rote Kakadu (2005) and Christian Petzold’s Barbara (2012) 
Nick Hodgin

16 Barluschke: Towards an East–West Schizo-History 
Kalani Michell

17 The Limits of Nostalgia and (Trans)National Cinema in Cum mi-am petrecut sfârşitul lumii (2006) 
Mihaela Petrescu

18 The Ideal of Ararat: Friendship, Politics and National Origins in Robert Guédiguian’s
Le Voyage en Arménie 
Joseph Mai

Notes 
Bibliography 
Index

About the Author

Michael Gott is Associate Professor of French and Film and Media Studies at the University of Cincinnati, where he teaches courses in European Studies, Film and Media Studies, and French-language culture and cinema. He is the author of French-language Road Cinema: Borders, Diasporas and ‘New Europe’ (Edinburgh University press, 2016) and co-edited Open Roads, Closed Borders: the Contemporary French-Language Road Movie (Intellect, 2013) and East, West and Centre: Reframing European Cinema Since 1989 (EUP, 2014).

Todd Herzog is an Associate Professor and Chair of German Studies at the University of Cincinnati. He is co-editor of the Journal of Austrian Studies. His books include Crime Stories (Berghahn, 2009), Rebirth of a Culture (Berghahn, 2008, with Hillary Hope Herzog and Benjamin Lapp) and A New Germany in a New Europe (Routledge, 2001, with Sander Gilman).