The Cinema makers [[electronic resource] ] : public life and the exhibition of difference in south-eastern and central europe since the 1960s / / by Anna Schober

• Record Nr.: UNINA9910786224003321
• Autore: Schober Anna
• Pubbl/distr/stampa: Bristol, : Intellect, 2013
• ISBN: 1-78320-069-3
• Descrizione fisica: 1 online resource (258 p.)
• Disciplina: 791.43094
• Soggetti: Motion pictures - Europe - History - 21st century; Violence in motion pictures
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Description based upon print version of record.
• Nota di contenuto: Cover; Half Title; Title; Copyright; Contents; List of Illustrations; Acknowledgements; Abbreviations; Introduction; Chapter 1: In the middle of things: city, cinema and the public sphere; 1.1. Cinema's potential for creating a public sphere; 1.2. Difference and the unfamiliar; 1.3. The subject in process: rituals, revolt and storytelling; Chapter 2: Movements and places: modern order and the cinema-squats of the 1960's; 2.1. Cinema and the modern attempt to eliminate ambivalence; 2.2. To become cinema-makers: expanded and other cinemas, the Crni Talas and OHO; 2.3. Transnationality: interaction and struggle vis-à-vis official strategies 2.4. Difference, privatized ambivalence and the (informal) public sphere; Chapter 3: Films and urban interventions: the rediscovery of difference since the 1960's; 3.1. The migrant guest worker: Fassbinder's interventions in the projection spaces of the imagination; 3.2. The figuration of difference as aesthetic, sexual and ethnic difference in Yugoslav cinema since the 1960's; Chapter 4: Follow-up initiatives; 4.1. Violence and humour: cinema activism in times of war; 4.2. Enthusiasm and critique: cinema between flash mob, new urban transition spaces and art Interviews Cited; References; Back Cover
• Sommario/riassunto: The Cinema Makers investigates how cinema spectators in south-eastern and central European cities became cinema makers through ; such practices as squatting in existing cinema spaces, organizing cinema 'events', writing about film and making films themselves. Drawing on a corpus of interviews with cinema activists in Germany, Austria and the former Yugoslavia, Anna Schober compares the activities and artistic productions they staged in cities such as Vienna, Cologne, Munich, Berlin, Hamburg, Ljubljana, Belgrade, Novi Sad, Subotica, Zagreb and Sarajevo. The resulting study illuminates the differerences