European Cinema : Face to Face with Hollywood (Film Culture in Transition)
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In the face of renewed competition from Hollywood since the early 1980s and the challenges posed to Europe’s national cinemas by the fall of the Wall in 1989, independent filmmaking in Europe has begun to re-invent itself. European Cinema: Face to Face with Hollywood re-assesses the different debates and presents a broader framework for understanding the forces at work since the 1960s. 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, as well as 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.
the bibliography and to Sutanya Singkhra’s patient work on the illustrations and footnotes. Jaap Wagenaar at Amsterdam University Press has, as usual, been a model of efficiency and good cheer. Finally, the book is dedicated to all the members of the ‘Cinema Europe’ study group, who have inspired me to re-think what it means to study Euro- pean cinema, and whose enthusiasm and total commitment have made the past four years a rare intellectual adventure. Thomas Elsaesser Amsterdam, June
Wave (London: Routledge, ) Jim Hillier (ed.), Cahiers du Cinéma . -: New Wave, New Cinema, Re-evaluating Hollywood: An Anthology from Cahiers du Cinema nos. - (London: Routledge, ) Norman Kagan, Greenhorns: Foreign Filmmakers Interpret America (Ann Arbor: Pieran, ) Thomas Kavanagh, “Film Theory and the Two Imaginaries,” in T. Kavanagh (ed.), The Limits of Theory (Stanford: Stanford University Press, Robert A. Kolker, A Cinema of Loneliness (Oxford: Oxford
The Third Generation The Ninth Day The Tin Drum , , The Observer n, , n, n The Tomb of Ligea The Official Story The Trial of Joan of Arc The Ogre The Trout , -, , - The Oval Portrait The Two Mrs Carrolls The Palestinians The Underground Orchestra The Parallax View The Virgin Spring , The Passenger , The Warrior and the Princess The Perfect Storm The White
in The Silence, and through the lighting in Persona, as well as shaping through his use of color the floating time of presence and memory, anticipation and traumatic recollection of Cries and Whispers. In this respect, Bergman’s film- making is as modern as Godard thought it was. Three Strange Loves to this day gives one the feeling that this is the cinema that every generation has to reinvent for itself, that the cinema always starts again with this kind of vulnerability and radical
representation of time (the “pregnant moment”), and above all, the spectator’s role and place in front of a “view.” Cynics may say that this is merely a rather arcane debate over the direction of academic film studies, in the wake of disenchantment with ciné-semiotics and psycho-semiotics: a swing of the pendulum away from the literary-linguistic foundations of “serious” film analysis to an equally respectable “art-history” discourse, with the cinema still looking for a pedigree. One might