European Cinema

European Cinema

By Thomas Elsaesser
Book Description

In the face of renewed competition from Hollywood since the early 1980s and the challenges posed to Europe's national cinemas by the fall of the Wall in 1989, independent filmmaking in Europe has begun to re-invent itself. European Cinema: Face to Face with Hollywood re-assesses the different debates and presents a broader framework for understanding the forces at work since the 1960s. These include the interface of "world cinema" and the rise of Asian cinemas, the importance of the international film festival circuit, the role of television, as well as the changing aesthetics of auteur cinema. New audiences have different allegiances, and new technologies enable networks to reshape identities, but European cinema still has an important function in setting critical and creative agendas, even as its economic and institutional bases are in transition.

Onder invloed van de rivaliteit met Hollywood en de val van de muur in 1989 vond er in de jaren '90 in veel West-Europese landen een levendig debat plaats over de toekomst van de nationale filmtradities. Van het bestaan van zich onderscheidende 'nationale' stijlen, zoals bijvoorbeeld neo-realisme, zou niet langer kunnen worden uitgegaan. Film zou een benepen kunstvorm geworden zijn, die redding zoekt in het bewaren van de 'nationale' erfenis of hoopt op artistieke vernieuwing van televisie en door de overheid gesubsidieerde prestigeprojecten. In European Cinema blikt Thomas Elsaesser terug op het debat en geeft een genuanceerder beeld van verschillende factoren die sinds de jaren zestig een rol speelden. Er is o.m. aandacht voor de raakvlakken met de 'world cinema' en de opkomst van de Aziatische film, de invloed van het internationale film festival circuit, de rol van televisie en de veranderende esthetiek in auteur-cinema. Nieuwe toeschouwers hebben andere voorkeuren, en nieuwe technologieën bieden de mogelijkheid om bestaande identiteiten te hervormen, maar de Europese cinema heeft nog steeds een belangrijke functie in het vaststellen van kritische en creatieve agenda's, ook al is haar economische en institutionele basis in beweging.

Table of Contents
  • Table of Contents
  • Preface
  • Introduction: European Cinema: Conditions of Impossibility?
  • National Cinema: Re-Definitions and New Directions
    • European Culture, National Cinema, the Auteur and Hollywood
    • ImpersoNations: National Cinema, Historical Imaginaries
    • Film Festival Networks: the New Topographies of Cinema in Europe
    • Double Occupancy and Small Adjustments: Space, Place and Policy in the New European Cinema since the 1990s
  • Auteurs and Art Cinemas: Modernism and Self-Reference, Installation Art and Autobiography
    • Ingmar Bergman – Person and Persona: The Mountain of Modern Cinema on the Road to Morocco
    • Late Losey: Time Lost and Time Found
    • Around Painting and the “End of Cinema”: A Propos Jacques Rivette’s La Belle Noiseuse
    • Spellbound by Peter Greenaway: In the Dark ... and Into the Light
    • The Body as Perceptual Surface: The Films of Johan van der Keuken
    • Television and the Author’s Cinema: ZDF’s Das Kleine Fernsehspiel
    • Touching Base: Some German Women Directors in the 1980s
  • Europe-Hollywood-Europe
    • Two Decades in Another Country: Hollywood and the Cinephiles
    • Raoul Ruiz’s Hypothèse du Tableau Volé
    • Images for Sale: The “New” British Cinema
    • “If You Want a Life”: The Marathon Man
    • British Television in the 1980s Through The Looking Glass
    • German Cinema Face to Face with Hollywood: Looking into a Two-Way Mirror
  • Central Europe Looking West
    • Of Rats and Revolution: Dusan Makavejev’s The Switchboard Operator
    • Defining DEFA’s Historical Imaginary: The Films of Konrad Wolf
    • Under Western Eyes: What Does Žižek Want?
    • Our Balkanist Gaze: About Memory’s No Man’s Land
  • Europe Haunted by History and Empire
    • Is History an Old Movie?
    • Edgar Reitz’ Heimat: Memory, Home and Hollywood
    • Discourse and History: One Man’s War – An Interview with Edgardo Cozarinsky
    • Rendezvous with the French Revolution: Ettore Scola’s That Night in Varennes
    • Joseph Losey’s The Go-Between
    • Games of Love and Death: Peter Greenaway and Other Englishmen
  • Border-Crossings: Filmmaking without a Passport
    • Peter Wollen’s Friendship’s Death
    • Andy Engel’s Melancholia
    • On the High Seas: Edgardo Cozarinsky’s Dutch Adventure
    • Third Cinema/World Cinema: An Interview with Ruy Guerra
    • Ruy Guerra’s Erendira
    • Hyper-, Retro- or Counter-: European Cinema as Third Cinema Between Hollywood and Art Cinema
  • Conclusion
    • European Cinema as World Cinema: A New Beginning?
  • European Cinema: A Brief Bibliography
  • List of Sources and Places of First Publication
  • Index of Names
  • Index of Film Titles / Subjects
The book hasn't received reviews yet.
You May Also Like
Writing for the Medium
Writing for the Medium
By Thomas Elsaesser
By Annie van den Oever
China's iGeneration
China's iGeneration
By Matthew D. Johnson
The Place of Play
The Place of Play
By Maaike Lauwaert
City of Darkness, City of Light
City of Darkness, City of Light
By Alastair Phillips
Memory and Popular Film
Memory and Popular Film
By Paul Grainge
Also Available On
Curated Lists