Rowman & Littlefield Publishers
Pages: 214
•
Trim: 6¼ x 9¼
978-1-4422-2959-4 • Hardback • November 2013 • $111.00 • (£85.00)
978-1-4422-2960-0 • eBook • November 2013 • $105.50 • (£82.00)
Leen Engelen is a lecturer at the Media and Design Academy and researcher at KU Leuven (Belgium). She has published on film history and visual culture in several national and international academic journals and is coeditor of Perspectives on European Film and History (2007). She is secretary general of the International Association for Media and History.
Kris Van Heuckelom teaches Polish language and culture at KU Leuven (Belgium). His books include (Un)masking Bruno Schulz: New Combinations, Further Fragmentations, Ultimate Reintegrations (2009, coedited) and Visuality in the Poetry of Czeslaw Milosz (2004).
The timing of European Cinema after the Wall could hardly be better. . . .East European Cinema after the Wall is a fine collection with a good selection of compelling essays. . . .I believe that [this book] . . . makes for a worthy addition to any film scholar’s library.
— Slavic and East European Journal
This is an interesting and informative volume which provides a wide overview of European cinema’s response to a major issue in large parts of the continent.
— Journal of Contemporary European Studies
This collection of ten original, well-argued essays features contributions by scholars from a variety of disciplinary perspectives — film and media studies, comparative literature, Slavic and Russian studies, sociology, and contemporary history — that will be of great interest to international readers of this journal and, for that matter, to anyone concerned with developments in Europe since the fall of the Berlin Wall. . . . The reader emerges from these richly detailed explorations with a sense that the dynamic national film industries represented here have undergone varying and even contradictory trajectories with regard to their acceptance or rejection of — or indeed indifference toward — the aftermath of the migrations that have taken place in the postsocialist era.
— Slavic Review