LEADER 05704nam 2200553Ia 450 001 996207171503316 005 20240418155750.0 010 $a90-485-0517-8 010 $a1-4237-4625-2 024 7 $a10.1515/9789048505173 035 $a(MiAaPQ)EBC419761 035 $a(Au-PeEL)EBL419761 035 $a(CaPaEBR)ebr10106676 035 $a(CaONFJC)MIL95886 035 $a(OCoLC)630532329 035 $a(DE-B1597)518153 035 $a(OCoLC)1027550687 035 $a(DE-B1597)9789048505173 035 $a(CKB)1000000000242011 035 $a(EXLCZ)991000000000242011 100 $a20050802d2005 uy 0 101 0 $aeng 135 $aurmn#---|u|uu 181 $ctxt 182 $cc 183 $acr 200 10$aEuropean cinema$b[electronic resource] $eface to face with Hollywood /$fThomas Elsaesser 205 $a1st ed. 210 $aAmsterdam $a[Great Britain] $cAmsterdam University Press$dc2005 215 $a1 online resource (567 p.) 225 1 $aFilm culture in transition 300 $a"NUR 674"--T.p. verso. 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tTable of Contents --$tPreface --$tIntroduction --$tEuropean Cinema: Conditions of Impossibility? --$tNational Cinema: Re-Definitions and New Directions --$tEuropean Culture, National Cinema, the Auteur and Hollywood --$tImpersoNations: National Cinema, Historical Imaginaries --$tFilm Festival Networks: The New Topographies of Cinema in Europe --$tDouble Occupancy and Small Adjustments: Space, Place and Policy in the New European Cinema since the 1990's --$tAuteurs and Art Cinemas: Modernism and Self-Reference, Installation Art and Autobiography --$tIngmar Bergman - Person and Persona: The Mountain of Modern Cinema on the Road to Morocco --$tLate Losey: Time Lost and Time Found --$tAround Painting and the "End of Cinema": A Propos Jacques Rivette's La Belle Noiseuse --$tSpellbound by Peter Greenaway: In the Dark ... and Into the Light --$tThe Body as Perceptual Surface: The Films of Johan van der Keuken --$tTelevision and the Author's Cinema: ZDF's Das Kleine Fernsehspiel --$tTouching Base: Some German Women Directors in the 1980's --$tEurope-Hollywood-Europe --$tTwo Decades in Another Country: Hollywood and the Cinephiles --$tRaoul Ruiz's L'Hypothèse du Tableau Volé --$tImages for Sale: The "New" British Cinema --$t"If You Want a Life": The Marathon Man --$tBritish Television in the 1980's Through The Looking Glass --$tGerman Cinema Face to Face with Hollywood: Looking into a Two-Way Mirror --$tCentral Europe Looking West --$tOf Rats and Revolution: Dusan Makavejev's The Switchboard Operator --$tDefining DEFA's Historical Imaginary: The Films of Konrad Wolf /$rWedel, Michael --$tUnder Western Eyes: What Does ?i?ek Want? --$tOur Balkanist Gaze: About Memory's No Man's Land --$tEurope Haunted by History and Empire --$tIs History an Old Movie? --$tEdgar Reitz's Heimat: Memory, Home and Hollywood --$tDiscourse and History: One Man's War - An Interview with Edgardo Cozarinsky --$tRendezvous with the French Revolution: Ettore Scola's That Night in Varennes --$tJoseph Losey's The Go-Between --$tGames of Love and Death: Peter Greenaway and Other Englishmen --$tBorder-Crossings: Filmmaking without a Passport --$tPeter Wollen's Friendship's Death --$tAndy Engel's Melancholia --$tOn The High Seas: Edgardo Cozarinsky's Dutch Adventure --$tThird Cinema/World Cinema: An Interview with Ruy Guerra --$tRuy Guerra's Erendira --$tHyper-, Retro- or Counter-: European Cinema as Third Cinema between Hollywood and Art Cinema --$tConclusion --$tEuropean Cinema as World Cinema: A New Beginning? --$tEuropean Cinema: A Brief Bibliography --$tList of Sources and Places of First Publication --$tIndex of Names --$tIndex of Film Titles / Subjects 330 $aHas European cinema, in the age of globalization, lost contact not only with the world at large, but with its own audiences? Between the thriving festival circuit and the obligatory late-night television slot, is there still a public or a public sphere for European films? Can the cinema be the appropriate medium for a multicultural Europe and its migrating multitudes? Is there a division of representational labor, with Hollywood providing stars and spectacle, the Asian countries exotic color and choreographed action, and Europe a sense of history, place and memory? This collection of essays by an acclaimed film scholar examines how independent filmmaking in Europe has been reinventing itself since the 1990's, faced by renewed competition from Hollywood and the challenges posed to national cinemas by the fall of the Wall in 1989. Elsaesser reassesses the debates and presents a broader framework for understanding the forces at work since the 1960's. These include the interface of "world cinema" and the rise of Asian cinemas, the importance of the international film festival circuit, the role of television, and the changing aesthetics of auteur cinema. New audiences have different allegiances, and new technologies enable networks to reshape identities, but European cinema still has an important function in setting critical and creative agendas, even as its economic and institutional bases are in transition. 410 0$aFilm culture in transition. 606 $aMotion picture industry$zEurope 606 $aMotion pictures$zEurope 615 0$aMotion picture industry 615 0$aMotion pictures 676 $a791.43094 700 $aElsaesser$b Thomas$f1943-$0560465 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a996207171503316 996 $aEuropean Cinema$91802173 997 $aUNISA