Chapters in this book

1. Frontmatter i
2. Contents v
3. Figures vii
4. Th e Contributors x
5. Introduction: The Art of In-Betweenness in Contemporary Eastern European Cinema 1
6. Part 1 Entangled Sensations, Cinema in-between the Arts
7. 1 Intermedially Emotional: Musical Mood Cues, Disembodied Feelings in Contemporary Hungarian Melodramas 25
8. 2 Black-and-White Sensations of History and Female Identity in Contemporary Polish and Czech Cinema 45
9. 3 Sculpture and Affect in Cinema’s Expanded Field: From Aleksey Gherman’s Hard to Be a God to Aleksey Gherman Jr’s Under Electric Clouds 65
10. 4 Intermedial Densities in the Work of Jan Švankmajer: A Media-Anthropological Case Study 91
11. Part 2 Immersions into Memory, Culture and Intermediality
12. 5 Trickster Narratives and Carnivalesque Intermediality in Contemporary Romanian Cinema 107
13. 6 Photographic Passages to the Past in Eastern European Non-Fiction Films 127
14. 7 Trauma, Memorialisation and Intermediality in Jasmila Žbanić’s For Those Who Can Tell No Tales 147
15. 8 An Immersive Theatrical Journey through Media and Time in Alexander Sokurov’s Russian Ark 163
16. Part 3 Reflections upon Reality, Representation and Power
17. 9 The Real and the Intermedial in Alexander Sokurov’s Family Trilogy 183
18. 10 This is Not Magritte: Corneliu Porumboiu’s Theory of Representation 203
19. 11 Intermedial Détrompe l’Oeil and Contemporary Polish Narrative Cinema 219
20. 12 Superhero Genre and Graphic Storytelling in Contemporary Hungarian and Russian Cinema 237
21. Index 254