The Routledge Companion to European Cinema

Cover
Half Title
Title Page
Copyright Page
Table of Contents
List of figures
Contributors
Introduction
Part I A first dialogical cluster: European cinema speaking about Europe: Through explorations of sexualities, identities, migration and the crisis of modernity
	Chapter 1 Post-communist nostalgia in new Bulgarian cinema as a social critique: Mediated post-communist nostalgia
	Chapter 2 Slow Slippy: Still shite being Scottish? T2: Trainspotting and the ‘Scottish European’
	Chapter 3 Beauty and historical understanding in Suspiria and Cold War
	Chapter 4 ‘Europe was built on blood’: Christian Petzold as a European filmmaker
	Chapter 5 Europe wounded? Politics of hope and resistance in Vincent Dieutre’s Orlando Ferito (2013)
	Chapter 6 Lilting and the entangled temporalities of Europe(an cinema)
	Chapter 7 New ways of looking: The case of Maren Ade, Valeska Grisebach and Małgorzata Szumowska
	Chapter 8 The ebbs and flows of girlhood experience across European cinema
	Chapter 9 ‘Dream on princess’: Cultural value, gender politics and the Hungarian film canon through the documentary Pretty Girls
	Chapter 10 European ecology-documentaries as performative exchange
	Chapter 11 Following the flâneur Hulot in Playtime: Soundscape of the new Paris
	Chapter 12 Ágata’s (filmmaking) girlfriends: The new wave of women directors in Catalonia
	Chapter 13 The Bourne multiplicity: Quantum Europeanness in the Bourne films (2002–2016)
	Chapter 14 Noisy presences in contemporary European Cinema: Paris est une fête: un film en 18 vagues 
	Chapter 15 Gay male sex, carnal knowledge and realism in contemporary French cinema
	Chapter 16 Eden is West, Europe as a magic trick
Part II A second dialogical cluster: Cinema and its industry, national transnationalisms: Actors, studios and cross-overs
	Chapter 17 Omar Sharif: A European Middle Eastern star
	Chapter 18 Weakened nationalism and thickened time: Interrogating the position of Kurdish cinema within European cinema discussions
	Chapter 19 Why small European film industries remake each other’s successes: The case of the Low Countries
	Chapter 20 European collaboration after World War Two: A Tale of Five Cities (M. Tully, R. Marcellini, W. Staudte, G. von Cziffra, E. E. Reinert, 1948–1951)
	Chapter 21 A film ‘highly offensive to our nation’: Stanley Kubrick’s Paths of Glory (1957), censorship and militaristic representations of post-war Europe
	Chapter 22 Europe comes to Hollywood: The silent era, 1912–1927
	Chapter 23 The non-professional actor in European cinema
	Chapter 24 The (cultural) politics of international co-production: Morocco and Europe
	Chapter 25 British comedy in a foreign light: looking at the trope of British comedy through the lens of émigré filmmakers
	Chapter 26 Corporate consolidation, artistic conservatism and the persistence of Hollywood: The European film industry, 2006–2020
	Chapter 27 ‘Boyish’ women and female soldiers: British gender disguise comedies between the world wars
	Chapter 28 Fred Zinnemann: A Hollywood director who never leaves Europe
Part III A third dialogical cluster: European cinema and the myth of a unifying and pluralist Europe: Through explorations of borders, genres and histories
	Chapter 29 Framing fundamentalism in contemporary European film
	Chapter 30 Gangster films reloaded: European values and the criminal spectre of late modernity
	Chapter 31 Films at the intersection of Europe, the Balkans and transgender visibility: A sketch map
	Chapter 32 Two-speed economic systems and bipolarity in the European Union: Frontier spaces in Valeska Grisebach’s Western
	Chapter 33 Film topography and national belonging: Hungarian Jewishness and the high mountains
	Chapter 34 Identity and belonging in the bordered spaces of Gatlif’s Indignados (2012) and Geronimo (2014)
	Chapter 35 Accented silences: The aesthetics of displacement in diasporic post-Yugoslav cinema
	Chapter 36 Resisting the traps of hegemony: Variation in contemporary German queer of color cinema
	Chapter 37 Lisbon on film, 1980–2020: Locating Europe
	Chapter 38 ‘We live like swine and die like swine, because we mean nothing to each other’: The little person, the state and nationhood in contemporary Russian film
	Chapter 39 Family, memories and borders: Europe in the films of Stephan Komandarev
	Chapter 40 Neoliberal authorship: Auteur theory and European art cinema in 2021 – The example of Paweł Pawlikowski
	Chapter 41 Queer bodies and the death drive: Gender and sexuality in Italian giallo
	Chapter 42 Political discourse and rhetoric: Challenging twenty-first-century populism in Chez nous/This Is Our Land 
	Chapter 43 Recovering memory, reasserting Europeanness: Modern Convivencia and Hispanotropicalism in Palm Trees in the Snow (2015) and Neckan (2014)
Index