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Popular cinemas in East Central Europe : film cultures and histories /
The continued interest in the social and cultural life of the former Warsaw pact countries - looking at but also beyond their socialist pasts - encompasses a desire to know more about their national cinemas. Yet, despite the increasing consumption of films from these countries - via DVD, VOD platfor...
| Clasificación: | Libro Electrónico |
|---|---|
| Otros Autores: | , , |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
London :
I.B. Tauris & Co. Ltd,
2017.
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| Colección: | International library of the moving image ;
40. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; Author bio; Endorsement; Title page; Copyright information; Table of contents; Figures; Graphs; Tables; List of contributors; Acknowledgements; A Note on Naming Conventions; Introduction; Part I Politics of Popular Cinema in the Interwar Period; 1 Czech Historical Film and Historical Traditions; Historical Narratives Shaping The Merry Wives; The Merry Wives: A Comedy Taking a Political Stance; Conclusion; Notes; 2 Starlets and Heart-throbs; Glamour Comedies and the Rise of the Male Stars; Turning Toward Melodrama: The Film Industry From 1936 Onwards; Conclusion; Notes
- Part II Towards Socialism: Continuities and Ruptures3 The Stripping of His Charms; The Star Lead; The Transformed Lead; The Resisting Lead; Conclusion; Notes; 4 Transformations; From the Commercial Film Industry to the State-Owned Cinema Culture; Hungarian Cinema for the Millions; From Socialist Realist Operettas to Satirical Comedies; Crime Cinema During Socialism: Mission Impossible?; From the Precursors of the Present to Historical Adventure; Conclusion; Notes; 5 Postwar Czechoslovak Comedy The Autonomisation of Parody, and Lemonade Joe (1964)
- Comedy in the Political History of Czechoslovak CinemaIndustrial Authorship and Group Styles in the State-Socialist Production System; Lemonade Joe: Paradoxical Historicity of Czech Film Parody; Autonomisation of Parody; Conclusion; Notes; Part III Socialist Film Cultures; 6 How To Be Loved? Three Takes on 'The Popular' in Socialist and Non-Socialist Cinema; 'Serious', 'Unserious', 'Art Cinema' and the 'Epic'; Kitsch and Realism; Notes; 7 'Humanist Screens': Foreign Cinema in Socialist Poland (1945-56); Humanist Screens and Mass Audiences; 1949: When Films Were Not Socialist Realist Enough
- 1951: Cinema Should Educate Rather Than Entertain1955: Genre Isn't So Bad After All; The General Public: Humanist Screens' Spectators; Conclusion; Notes; 8 Poland's Wild West and East; Lonely Heroes, Settlers and Gunslingers: How The Polish West Was Won; Defending the East: Soldiers and Rezuny; Conclusion; Notes; 9 Film in Full Gallop; Notes; 10 The Czechoslovak-East German Co-production Tři oříšky pro Popelku/Drei Haselnüsse für Aschenbrödel/Three Wishes ... ; Popularity With Two National Audiences; Children's Films at Barrandov and DEFA: A Temporary Reconciliation of Production Concepts
- Cinderella, a Transnational CharacterConclusion; Acknowledgement; 11 The Paradox of Popularity; Introduction; Popular Film and the Politics of Power; Popular Film and the Politics of Auteurs; After 1968; The Case of the Crime Movie; The vulture; Conclusion; Notes; Part IV Out of Socialism: Co-habiting Models of Popular Cinema; 12 Popular Nostalgia; Notes; 13 The Power of Love; Heritage cinema: the (un)certainties of the past; Melodrama: Historical Trauma as an Affect; Romantic Comedy: Modernity Domesticated; Conclusion; 14 When Walls Fall; Notes