000			02915cam a22002418i 4500
003			JGU
005			20220622143151.0
008			210626s2022 enk b 001 0 eng
020			_a9780367461850 _qhbk.
035			_aJGU
040			_beng
041			_aeng
245	0	4	_aRoutledge companion to European cinema / _cGabor Gergely ; Susan Hayward.
260			_aLondon : _bRoutledge, _c2022.
520			_a"This Companion's guiding vision of Europe is that of a messy place or idea that emerges from multiple images from multiple perspectives and multiple positions. To adopt Italo Calvino's phrase, European cinema is the product of a 'collection of voices' coming together as a 'multiple discovery' of various Europes and cinemas. Europe is imprecisely circumscribed, in a permanent state of transition, transformation and contestation, deployed in the service of varied interests, in shifting contexts of power, never self-same, nor reducible to something fixed, legible, or knowable. Film scholarship in and/or about Europe published in English has paid far greater attention to some issues than others. French, Italian and German cinema have been centred as Europe's core cinemas. This book is not intended to make up for this historic bias in one swoop. It is offered instead as a way of engaging with European cinema that attends to questions of European colonial, racialized and gendered power, seeks to decentre Europe itself (not merely its putative centres) and interrogate Europe's various conceptualizations from a variety of viewpoints. This Companion embraces messiness by refusing to impose any other prior interpretation on Europe or its cinema. This book asks - rather than prescribes - what European cinema tells us about Europe. This latter is understood with an open mind as the broad, complex and heterogeneous community/ies produced in and by European films. This large and flexible label takes in Kurdish, Hollywood and Singapore cinema as comfortably as the cinema of Poland, Spanish colonial films or the European gangster genre. Individual films (e.g., Vincent Deutre's Orlando Ferito, 2013), film movements (e.g., Neo-Queer Cinema), filmmakers (e.g., Fred Zinnemann), stars (e.g., Omar Sharif), scholarship (e.g., Hungarian film historiography), representations and identities (e.g., German queer of colour cinema), audiences (e.g., Bulgarian viewers of Stephan Komandarev's films), production practices (e.g., Moroccan film funding), genres (e.g., the Giallo) and much else are analysed in their context(s) so as to construct an image of Europe as it emerges from Europe's film corpus"--
650		0	_aMotion pictures _zEurope _xHistory. _9171592
650		0	_aMotion picture industry _zEurope _xHistory. _9848414
700	1		_aGergely, Gabor _eeditor _9848415
700	1		_aHayward, Susan _eeditor _9252722
999			_c2517238 _d2517238