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After WWII, cinema was everywhere: in movie theatres, public squares, factories, schools, trial courts, trains, museums, and political meetings. Seen today, documentaries and newsreels, as well as the amateur production, show the kaleidoscopic portrait of a changing Europe. How did these cinematic images contribute to shaping the new societies emerging from the ashes of war, both in the Western and in the Eastern bloc? Why were they so crucial in framing and regulating new places and practices, political systems, economic dynamics, educational frameworks, and memory communities? This edited volume explores the multiple ways nonfiction cinema reconfigured public spaces, collective participation, democratisation, and governmentality between 1944 and 1956. Looking back at it through a transnational perspective and the critical category of spatiality, nonfiction cinema appears in a new light: simultaneously as a specifically situated and as a highly mobile medium, it was a fundamental agent in reshaping Europe's shared identity and culture in a defining decade.
Between 1967 and 2000, film production in Germany underwent a number of significant transformations, including the birth and death of New German Cinema as well as the emergence of a new transnational cinematic practice. In Projecting History, Nora M. Alter explores the relationship between German cinematic practice and the student protests in both East and West Germany against the backdrop of the U.S. war in Vietnam in the sixties, the outbreak of terrorism in West Germany in the seventies, West Germany's rise as a significant global power in the eighties, and German reunification in the nineties. Although a central tendency of New German Cinema in the 1970s was to reduce the nation's history to the product of individuals, the films addressed in Projecting History focus not on individual protagonists, but on complex socioeconomic structures. The films, by Rainer Werner Fassbinder, Harun Farocki, Alexander Kluge, Ulrike Ottinger, Wim Wenders and others, address basic problems of German history, including its overall "peculiarity" within the European context, and, in particular, the specific ways in which the National Socialist legacy continues to haunt Germans. Nora M. Alter is Associate Professor of German, Film and Media Studies, and Women and Gender Studies at the University of Florida. A specialist in twentieth-century film, comparative literature, and cultural studies, Alter has been the recipient of a National Endowment for the Humanities Fellowship and a Howard Foundation Fellowship. She is also the author of Vietnam Protest Theatre: The Television War on Stage.
Finalist for the Pulitzer Prize • Winner of the Council on Foreign Relations Arthur Ross Book Award • One of the New York Times' Ten Best Books of the Year “Impressive . . . Mr. Judt writes with enormous authority.” —The Wall Street Journal “Magisterial . . . It is, without a doubt, the most comprehensive, authoritative, and yes, readable postwar history.” —The Boston Globe Almost a decade in the making, this much-anticipated grand history of postwar Europe from one of the world's most esteemed historians and intellectuals is a singular achievement. Postwar is the first modern history that covers all of Europe, both east and west, drawing on research in six languages to sweep readers through thirty-four nations and sixty years of political and cultural change-all in one integrated, enthralling narrative. Both intellectually ambitious and compelling to read, thrilling in its scope and delightful in its small details, Postwar is a rare joy. Judt's book, Ill Fares the Land, republished in 2021 featuring a new preface by bestselling author of Between the World and Me and The Water Dancer, Ta-Nehisi Coates.
This volume offers a cultural, aesthetic, and critical reappraisal of German 'rubble films' produced in the immediate aftermath of the Second World War and constructs their meaning in a historical context.
From their very inception, European cinemas undertook collaborative ventures in an attempt to cultivate a transnational “Film-Europe.” In the postwar era, it was DEFA, the state cinema of East Germany, that emerged as a key site for cooperative practices. Despite the significant challenges that the Cold War created for collaboration, DEFA sought international prestige through various initiatives. These ranged from film exchange in occupied Germany to partnerships with Western producers, and from coproductions with Eastern European studios to strategies for film co-authorship. Uniquely positioned between East and West, DEFA proved a crucial mediator among European cinemas during a period of profound political division.
World War II irrevocably shaped culture--and much of cinema--in the 20th century, thanks to its devastating, global impact that changed the way we think about and portray war. This book focuses on European war films made about the war between 1945 and 1985 in countries that were occupied or invaded by the Nazis, such as Poland, France, Italy, the Soviet Union, and Germany itself. Many of these films were banned, censored, or sharply criticized at the time of their release for the radical ways they reframed the war and rejected the mythologizing of war experience as a heroic battle between the forces of good and evil. The particular films examined, made by arthouse directors like Pier Paolo Pasolini, Rainer Werner Fassbinder, and Larisa Shepitko, among many more, deviate from mainstream cinematic depictions of the war and instead present viewpoints and experiences of WWII which are often controversial or transgressive. They explore the often-complicated ways that participation in war and genocide shapes national identity and the ways that we think about bodies and sexuality, trauma, violence, power, justice, and personal responsibility--themes that continue to resonate throughout culture and global politics.
History of Post World War II Eastern Europe's film Industry. Covers: The Soviet Union, Poland, German Democratic Republic, Czechoslovakia, Yugoslavia, Bulgaria, Romania and Hungary.
Casting fresh light on the renowned productions of auteurs like Antonioni, Fellini, and Bresson and drawing out from the shadows a range of important but lesser-known works, Screening Modernism is the first comprehensive study of European art cinema’s postwar heyday. Spanning from the 1950s to the 1970s, András Bálint Kovács’s encyclopedic work argues that cinematic modernism was not a unified movement with a handful of styles and themes but rather a stunning range of variations on the core principles of modern art. Illustrating how the concepts of modernism and the avant-garde variously manifest themselves in film, Kovács begins by tracing the emergence of art cinema as a historical category. He then explains the main formal characteristics of modern styles and forms as well as their intellectual foundation. Finally, drawing on modernist theory and philosophy along the way, he provides an innovative history of the evolution of modern European art cinema. Exploring not only modernism’s origins but also its stylistic, thematic, and cultural avatars, Screening Modernism ultimately lays out creative new ways to think about the historical periods that comprise this golden age of film.
The national cinemas of Czechoslovakia and East Germany were two of the most vital sites of filmmaking in the Eastern Bloc, and over the course of two decades, they contributed to and were shaped by such significant developments as Sovietization, de-Stalinization, and the conservative retrenchment of the late 1950s. This volume comprehensively explores the postwar film cultures of both nations, using a “stereoscopic” approach that traces their similarities and divergences to form a richly contextualized portrait. Ranging from features to children’s cinema to film festivals, the studies gathered here provide new insights into the ideological, political, and economic dimensions of Cold War cultural production.
Film festivals during the Cold War were fraught with the political and social tensions that dominated the world at the time. While film was becoming an increasingly powerful medium, the European festivals in particular established themselves as showcases for filmmakers and their perceptions of reality. At the same time, their prestigious, international character attracted the interest of states and private players. The history of these festivals thus sheds light not only on the films they made available to various publics, but on the cultural policies and political processes that informed their operations. Presenting new research by an international group of younger scholars, Cultural Transfer and Political Conflicts critically investigates postwar history in the context of film festivals reconstructing not only their social background and international dispensation, but also their centrality for cultural transfers between the East, the West and the South during the Cold War.