Attempting to illustrate history’s role in the formation of the postcommunist film, the book aims at moving the notion of postcommunist film away from an exclusively geographical foundation and into the realm of transnational cinema and World cinema. It deals with different national cinemas and dissimilar cinematic modes, from Russian blockbuster cinema to Chinese independent cinema, from Serbian city films to revolutionary films of Mozambique, all formulated within the postcommunist condition. Postcommunist Film – Russia, Eastern Europe and World CultureĪ postcommunist condition was created through the fall of the Berlin Wall and later the Soviet Empire, and this book looks at how this condition has manifested itself globally in the production of postcommunist film. Representations of former USSR and Eastern European identity in Turkish cinema: Serazer Pekerman Truancy, or thought from the provinces: Yün Pengġ2.
Projected nation and projected self: Yun-Hua Chenġ1. The crime that changed Serbia: Nevena Dakovićġ0. Treading new paths: Sune Bechmann Pedersenĩ. Demolish, preserve or beautify: Ewa Mazierska8. Spotting the eagle on Anglophone turf: Bruce Williams The remains of socialist realism: Lars KristensenĦ. 'Haven't you heard of internationalism?': Ros Grayĥ. National identity in post-9/11 transnational cinema: Jasmijn Van GorpĤ. Part l: Cultural strategies, industry and receptionġ.
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