East, West and Centre

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' (EUP, 2016) and co-edited Cinéma-monde: Decentred Perspectives on Global Filmmaking in French (EUP, 2018), Open Roads, Closed Borders: the Contemporary French-Language Road Movie (Intellect, 2013) and East, West and Centre: Reframing European Cinema Since 1989 (EUP, 2014).

'East, West and Centre cannot be missed by anybody who searches for thoughtprovoking films and new ways to tackle them. Its authors engage with the legacies of various types of colonialism in Europe and imbalance in European cinema, and attempt to counteract these phenomena by offering close analyses of the most fascinating films made since the fall of state socialism, utilising concepts such as feminism, magic realism, hapticity and road cinema.'Ewa Hanna Mazierska, Professor of Contemporary Cinema in the School of Journalism and Media, University of Central Lancashire

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.

In East, West and Centre the world's leading scholars in the field assemble to consider the ways in which notions such as East and West, national and transnational, central and marginal are being rethought and reframed in contemporary European cinema. Assessing the state of post-1989 European cinema, from (co)production and reception trends to filmic depictions of migration patterns, economic transformations and socio-political debates over the past and the present, they address increasingly intertwined cinema industries that are both central (France, Germany) and marginal (Romania, Bulgaria, Lithuania) in Europe. This is a ground-breaking and essential read, not just for students and scholars in Film and
Media Studies, but also for those interested in wider European Studies as well.

Michael Gott is Assistant Professor of French at the University of Cincinnati.

Todd Herzog is an Associate Professor and Chair of German Studies at the University of Cincinnati.

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 Kieslowski
Alison Rice

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

5 Fatih Akin'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 sukaityte

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 sfârsitul 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