Cinema and the Environment in Eastern Europe: From Communism to Capitalism

Contents\nList of Illustrations\nAcknowledgments\nIntroduction\nPart I. Industrializing the Bloc: Cinema of the Socialist Period\nChapter 1. Sad and Bitter Landscapes: Ecology and the Built Environment in Czech and East German Photography and Film\nChapter 2. From Mastery to Indistinction: Nature in Thaw-Era Cinema\nChapter 3. Specters of Ecology in Cold War Soviet Science Fiction Film\nPart II. Environmental Crisis and the Nuclear Imaginary\nChapter 4. Postapocalyptic Landscapes: The End of August at the Hotel Ozone (1966) and the Czechoslovak New Wave\nChapter 5. Fallow Fields: Crises of Masculinity and Ecology in Piotr Andrejew’s Tender Spots (1981)\nChapter 6. Catastrophe, Obliquely: Soviet Documentaries about Chernobyl\nPart III. Animals between the Natural and the Social\nChapter 7. Is There a Place for the Animal? Shot Scale, Modernity, and the Urban Landscape in Lithuanian Documentary\nChapter 8. Against Interpretation: Animals in Contemporary Hungarian Cinema\nPart IV. From Communism to Capitalism: Privatization and the Commons\nChapter 9. Okraina and “Oil Ontology” in Post-Soviet Russian Cinema\nChapter 10. Upholding the Village, the Beach, the Last Resort: The (Threatened) Idyll in Bulgarian Cinema\nPart V. Toward an Eastern European Ecocinema\nChapter 11. Coming to the Senses: Environmental Ethics and the Limits of Narrative in Contemporary Slovenian Cinema\nChapter 12. Cinema of the Forest People: From Environmental Consciousness Toward Ecocritical Perspectives in Polish (Post)communist Film\nChapter 13. Beyond the Utopian Landscape in Post-Soviet Russian Cinema\nChapter 14. Recycling, Citroën Cars, and Roma Refugees in Boris Mitić’s Pre