A Companion to Eastern European Cinemas	5
	Contents	7
	Notes on the Editor and Contributors	10
	Foreword	17
	1 Introduction: Eastern European Cinema From No End to the End (As We Know It)	21
	What Is and What (Really) Was “Eastern European Cinema”?	24
	First Intervention: Un-nationalizing Cinemas	27
	Second Intervention: A Case for European (Post-)Socialism	31
	Third Intervention: East European Cinema within Global Film Studies	36
	Conclusion and Acknowledgments	39
	Note	40
	References	40
	Part I New Theoretical and Critical Frameworks	43
	2 Body Horror and Post-Socialist Cinema: György Pálfi’s Taxidermia	45
	References	59
	3 El perro negro : Transnational Readings of Database Documentaries from Spain	61
	The Way In	61
	The Transnational Stage	62
	The Spanish Context for Reading Documentaries	69
	Re-Imagining Archival Histories	71
	Tren de sombras (1997)	72
	La niebla en las palmeras (2005)	74
	El perro negro (2005)	75
	References	80
	Further Reading	82
	4 Did Somebody Say Communism in the Classroom? or The Value of Analyzing Totality in Recent Serbian Cinema	83
	From Communism to Ethnic Nationalism	85
	From Ethnic Nationalism to Neoliberalism	90
	Conclusion	94
	References	96
	5 Laughing into an Abyss: Cinema and Balkanization	97
	Notes	116
	References	118
	Further Reading	120
	6 Jewish Identities and Generational Perspectives	121
	Somewhere in Europe revisited	122
	The Last Stop	125
	István Szabó’s Father : An Absent Generation	126
	Related East European Production	128
	Filmmaking after 1989: Generational Perspectives	129
	Kertész, Spielberg, and Lanzmann	132
	Documentary Filmmaking	134
	Notes	139
	References	142
	Further Reading	144
	7 Aftereffects of 1989: Corneliu Porumboiu’s 12:08 East of Bucharest (2006) and Romanian Cinema	145
	Context: Cinematic Reconfigurations of 1989	148
	Understanding the Reception of 12:08 East of Bucharest in Romania: Was There, or Was There Not an Event?	150
	The Question of Making and Saying an Event: Virtuality and Simulacrum	152
	The Use of Language in 12:08	156
	Post-national Pastiche and Cinematic Realism	161
	Notes	165
	References	165
	8 Cinema Beyond Borders: Slovenian Cinema in a World Context	168
	Slovenian Cinema as Small Cinema	169
	When Small Means Invisible	174
	Cinema of National Allegory: Damjan Kozole	176
	Beyond the National in Small Cinema	179
	Notes	184
	References	184
	Part II Historical and Spatial Redefinitions	187
	9 Center and Periphery, or How Karel Vachek Formed a New Government	189
	Major and Minor, Nonfiction and Fiction	190
	From Center to Periphery	193
	A Second Society	198
	Afterword	200
	Note	201
	Filmography	201
	Works Cited	202
	10 The Polish Black Series Documentary and the British Free Cinema Movement	203
	The Polish “October Spring”	204
	The Czarna Seria – Critical Social Documentaries in a Socialist State	205
	Polish Documentary Film, The Thaw and the “October Spring”	210
	Polish documentary between East and West during the Cold War	211
	Czarna seria and Free Cinema	216
	Notes	219
	References	219
	Further Reading	220
	11 Socialists in Outer Space: East German Film’s Venusian Adventure	221
	12 Red Shift: New Albanian Cinema and its Dialogue with the Old	222
	Before the Fall	223
	From Void to Void	229
	After the Pyramid	232
	The Old and the New	239
	References	240
	Further Reading	241
	13 National Space, (Trans)National Cinema: Estonian Film in the 1960s	242
	(Trans)National Cinema	243
	National Space	248
	Nation-Space: Back to the Past	250
	Conclusion	254
	Notes	255
	References	259
	14 For the Peace, For a New Man, For a Better World! Italian Leftist Culture and Czechoslovak Cinema, 1945–1968	263
	Notes	279
	References	281
	Part III Aesthetic (Re)visions	287
	15 The Impossible Polish New Wave and its Accursed Émigré Auteurs: Borowczyk, Pola?ski, Skolimowski, and ?u?awski	289
	Introduction	289
	The Impossible Polish New Wave	291
	Generations of Exile and Accursed Auteurs	294
	Borowczyk, Surrealism, and Eroticism	295
	Pola?ski, Skolimowski, and the Polish Cinema of the Absurd	299
	?u?awski and the Cinema of Expression	303
	Conclusion	306
	Notes	307
	References	307
	16 Documentary and Industrial Decline in Hungary: The “Ózd Series” of Tamás Almási	309
	Notes	320
	References	322
	The Ózd series by Tamás Almási	322
	17 Investigating the Past, Envisioning the Future: An Exploration of Post-1991 Latvian Documentary	323
	Introduction	323
	Latvia’s Documentary Past	325
	The 1990s and Beyond: A Phoenix Rising out of the Ashes	327
	A Common Theme	336
	Future Directions for Documentary	337
	Notes	338
	References	339
	18 Eastern European Historical Epics: Genre Cinema and the Visualization of a Heroic National Past	342
	Introduction	342
	Genre	344
	The Historical Epic	346
	Eastern European Epics: Generic Conventions	349
	Western Europe and the Ottoman Empire in Eastern European Epics	352
	Eastern European Epics: Local Specificity of the Genre	353
	Conclusion	358
	Notes	359
	References	361
	Filmography	362
	19 Nation, Gender, and History in Latvian Genre Cinema	364
	… A Glimpse into the Launch …	365
	… Genres of the Postcolonial Cinematic ImagiNation …	365
	… Stalinist 1950s: Latvian Riflemen, Adventures, and Biopics	369
	… Thaw, New Genres and Camerawork: Mediating the “national” …	371
	… Film Adaptation, Literary Canon and National Memory …	373
	… Soviet Latvian Detective …	377
	… Freedom and Cinema …	378
	Notes	381
	Further Reading	381
	20 A Comparative Study: Rein Raamat’s Big Tõll and Priit Pärn’s Luncheon on the Grass	383
	The Problems of Context	384
	Who Can Read between the Lines?	387
	Rein Raamat’s Big Tõll	388
	Priit Pärn’s Luncheon on the Grass	391
	Notes	395
	References	400
	21 The Yugoslav Black Wave: The History and Poetics of Polemical Cinema in the 1960s and 1970s in Yugoslavia	401
	Yugoslav History and Context	401
	Black Wave Poetics	406
	Transnational Trends and Connections	416
	Notes	421
	References	421
	Further Reading	422
	Part IV Industries and Institutions	423
	22 Follow the Money – Financing Contemporary Cinema in Romania	425
	Introduction	425
	Domestic Financing – State System	427
	Domestic Financing – Private Enterprise	435
	International Funding	439
	Conclusion	441
	Notes	443
	References	449
	23 An Alternative Model of Film Production: Film Units in Poland after World War Two	451
	What was a Film Unit?	452
	Checks and Balances	457
	Why Film Units in Poland?	459
	Notes	462
	References	462
	24 The Hussite Heritage Film: A Dream for all Czech Seasons	464
	Notes	476
	References	479
	Further Reading	480
	25 International Co-productions as Productions of Heterotopias	481
	Le Départ: Leaving for the West and Finding a Promised Land in Cinema	482
	Birds, Orphans and Fools: Creating a Countercultural Enclave	489
	The Test of Pilot Pirx : Producing an “Other Space”	493
	Conclusion	499
	Notes	500
	References	500
	26 East is East? New Turkish Cinema and Eastern Europe	502
	Turkey and Europe	503
	A Brief History of Turkish Cinema	505
	(Eastern) European Influences on Turkish Cinema	507
	Financial Connections	510
	Notes	513
	References	513
	Index	516