By Anikó Imre
A significant other to japanese ecu Cinemas showcases twenty-five essays written by means of validated and rising movie students that hint the heritage of jap eu cinemas and provide an updated review of post-socialist movie cultures.
- Showcases serious old paintings and up to date tests of post-socialist movie cultures
- Features attention of lesser identified parts of research, reminiscent of Albanian and Baltic cinemas, renowned style movies, cross-national distribution and aesthetics, animation and documentary
- Places the cinemas of the quarter in a eu and worldwide context
- Resists the chilly struggle type of jap eu cinemas as “other” paintings cinemas via reconnecting them with the most circulate of movie studies
- Includes dialogue of such motion pictures as Taxidermia, El Perro Negro, 12:08 East of Bucharest sizeable Tõll, and Breakfast at the Grass and explores the paintings of administrators together with Tamás Almási, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej ?u?awski, and Karel Vachek among many others
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Extra info for A Companion to Eastern European Cinemas
More generally, Taxidermia systematically avoids portraying any processes of organic development; it relies, instead, upon spatial juxtapositions and analogical correspondences. In one astonishing montage sequence in the first part of the film, the lieutenant’s enormous tub is rotated on its axis and we see the various uses to which it has been put: bathing, sleeping, storing the pig’s bones, laying out a corpse, cradling a newborn baby, doing the laundry. These are all constituent elements of the supposedly traditional way of life predating both communism and capitalism which this portion of the film depicts.
Such is the dilemma of capitalist realism. But as Tamás says, “who can badmouth East Europeans, new to market capitalism of the last variety, if they do not believe in all this nonsense? ” (Szeman and Tamás, 2009: 26). The corrosive, sardonic wit of Pálfi’s film exposes the groundlessness of our Western assumptions. In its historical vision, Taxidermia is almost a work of science fiction as it “cognitively estranges” us (Suvin, 1972: 372) from our sense of capitalism as the end of history. Taxidermia performs its task of cognitive estrangement through a series of violent contrasts.
Routledge, London, pp. 57–68. Hjort, M. and Petrie, D. (eds) (2007) The Cinema of Small Nations. Indiana University Press, Indianapolis. Imre, A. (forthcoming) National history and cross-national television edutainment. Journal of Popular Film and Television. Imre, A. and Bardan, A. (2011) Vampire branding: Romania’s dark destinations, in Branding Post-Communist Nations: Marketizing National Identities in the New Europe (ed. N, Kaneva). Routledge, London. Jameson, F. (2004) Thoughts on Balkan cinema, in Subtitles: On the Foreignness of Film (ed.