Chapters in this book

1. Frontmatter 1
2. Table of Contents 5
3. Acknowledgments 7
4. Introduction 11
5. Part I Key Figures
6. 1. The Experimentalism of Gábor Bódy 33
7. 2. Circles, Lines, and Documentary Designs : Tomislav Gotovac’s Belgrade Trilogy 59
8. 3. From the Workshop of the Film Form to Martial Law : On the Intersecting and Bifurcating Paths of Paweł Kwiek’s and Józef Robakowski’s Cinematographic Work in the 1970s and the 1980s 77
9. Part II Production, Support, and Distribution
10. 4. Amateur Cinema in Bulgaria 101
11. 5. The Polish Educational Film Studio and the Cinema of Wojciech Wiszniewski 125
12. 6. Home Movies and Cinematic Memories: Fixing the Gaze on Vukica Đilas and Tatjana Ivančić 151
13. Part III Viewing Contexts, Theories, and Reception
14. 7. Alone in the Cinemascope 175
15. 8. kinema ikon—Experiments in Motion (1970–89) 197
16. 9. AudioVision : Sound, Music, and Noise in East German Experimental Films 221
17. Part IV Intersection of the Arts
18. 10. Intersections of Art and Film on the Wrocław Art Scene, 1970–80 243
19. 11. Conceptual Artist, Cognitive Film: Miklós Erdély at the Balázs Béla Studio 265
20. 12. Works and Words, 1979 : Manifesting Eastern European Film and/as Art in Amsterdam 293
21. 13. Wizardry on a Shoestring : Čaroděj and Experimental Filmmaking in Late Socialist Czechoslovakia 317
22. Index 329