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Experimental Cinemas in State-Socialist Eastern Europe
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Edited by:
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With contributions by:
Language:
English
Published/Copyright:
2022
Author / Editor information
Gurshtein Ksenya :
Ksenya Gurshtein is the Curator of Modern and Contemporary Art at the Ulrich Museum of Art, Wichita State University in Wichita, Kansas. She holds a Ph.D. in the History of Art, and her academic research has focused on post-war conceptual, experimental, and neo-avant-garde art in Eastern Europe. Her scholarship and criticism have appeared in scholarly journals, popular magazines, exhibition catalogs, and online.Simonyi Sonja :
Sonja Simonyi is an independent scholar working on the audiovisual cultures of socialist Eastern Europe. She completed her dissertation at New York University’s Department of Cinema Studies and her writings on both popular and experimental film have appeared in a number of art magazines, edited volumes, as well as academic journals.
Reviews
"This is a gem of a collection. It makes a unique and lasting contribution to film history, film studies, and the history of avant-garde/experimental cinema. The thirteen chapters, shepherded by expert curation by the two editors, provide the definitive, thoroughly researched, interconnected, and yet locally specific histories of experimental cinema in the East European countries under Soviet influence in the 1960s-70s, the most prolific period of this kind of filmmaking during the Cold War."
– Anikó Imre, University of Southern California, editor of East European Cinemas and A Companion to Eastern European Cinemas
"I am extraordinarily impressed by this collection—by its balance of diversity and coherence, the quality of the individual contributions and the “curatorial” work of the editors, the depth of research, and the thoroughness with which it covers its topic. This is a powerhouse collection of scholarship that provides an exceptional introduction to a sadly under-studied and under-represented topic. In both the introduction and the contributions, the editors and authors link their projects to larger questions—historical, theoretical, methodological—in the field, all of which are relevant and indeed at the forefront of current work in cinema and art studies."
– Jonathan Walley, Denison University, author of Cinema Expanded: Avant-Garde Film in the Age of Intermedia
"It is among the first editions that do not simply concentrate on the history of local experimental filmmaking practices within Eastern Europe but attempt to give an overview of such practices in the aforementioned region. The publication of this book without a doubt can be a crucial step in the research of this field and will be important and inevitable literature for all the scholars focusing on the area."
- Bori Máté, Studies in Eastern European Cinema, Sep 2022
– Anikó Imre, University of Southern California, editor of East European Cinemas and A Companion to Eastern European Cinemas
"I am extraordinarily impressed by this collection—by its balance of diversity and coherence, the quality of the individual contributions and the “curatorial” work of the editors, the depth of research, and the thoroughness with which it covers its topic. This is a powerhouse collection of scholarship that provides an exceptional introduction to a sadly under-studied and under-represented topic. In both the introduction and the contributions, the editors and authors link their projects to larger questions—historical, theoretical, methodological—in the field, all of which are relevant and indeed at the forefront of current work in cinema and art studies."
– Jonathan Walley, Denison University, author of Cinema Expanded: Avant-Garde Film in the Age of Intermedia
"It is among the first editions that do not simply concentrate on the history of local experimental filmmaking practices within Eastern Europe but attempt to give an overview of such practices in the aforementioned region. The publication of this book without a doubt can be a crucial step in the research of this field and will be important and inevitable literature for all the scholars focusing on the area."
- Bori Máté, Studies in Eastern European Cinema, Sep 2022
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Frontmatter
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Table of Contents
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Acknowledgments
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Introduction
11 - Part I Key Figures
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1. The Experimentalism of Gábor Bódy
33 -
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2. Circles, Lines, and Documentary Designs : Tomislav Gotovac’s Belgrade Trilogy
59 -
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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 - Part II Production, Support, and Distribution
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4. Amateur Cinema in Bulgaria
101 -
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5. The Polish Educational Film Studio and the Cinema of Wojciech Wiszniewski
125 -
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6. Home Movies and Cinematic Memories: Fixing the Gaze on Vukica Đilas and Tatjana Ivančić
151 - Part III Viewing Contexts, Theories, and Reception
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7. Alone in the Cinemascope
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8. kinema ikon—Experiments in Motion (1970–89)
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9. AudioVision : Sound, Music, and Noise in East German Experimental Films
221 - Part IV Intersection of the Arts
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10. Intersections of Art and Film on the Wrocław Art Scene, 1970–80
243 -
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11. Conceptual Artist, Cognitive Film: Miklós Erdély at the Balázs Béla Studio
265 -
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12. Works and Words, 1979 : Manifesting Eastern European Film and/as Art in Amsterdam
293 -
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13. Wizardry on a Shoestring : Čaroděj and Experimental Filmmaking in Late Socialist Czechoslovakia
317 -
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Index
329
Publishing information
Pages and Images/Illustrations in book
eBook published on:
June 9, 2022
eBook ISBN:
9789048532964
Pages and Images/Illustrations in book
Main content:
334
Illustrations:
52
eBook ISBN:
9789048532964
Keywords for this book
Film studies; Experimental/avant-garde film; Eastern European cinema; Postwar film history; Cold War
Audience(s) for this book
Professional and scholarly;
