By Anikó Imre
A significant other to japanese ecu Cinemas showcases twenty-five essays written by way of verified and rising movie students that hint the heritage of japanese ecu cinemas and supply an up to date evaluation of post-socialist movie cultures.
- Showcases severe old paintings and up to date exams of post-socialist movie cultures
- Features attention of lesser identified components of analysis, akin to Albanian and Baltic cinemas, renowned style movies, cross-national distribution and aesthetics, animation and documentary
- Places the cinemas of the sector in a ecu and international context
- Resists the chilly conflict type of jap eu cinemas as “other” paintings cinemas by means of reconnecting them with the most stream of movie studies
- Includes dialogue of such movies as Taxidermia, El Perro Negro, 12:08 East of Bucharest enormous Tõll, and Breakfast at the Grass and explores the paintings of administrators together with Tamás Almási, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej ?u?awski, and Karel Vachek among many others
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Additional resources for A Companion to Eastern European Cinemas
Indd 34 7/4/2012 5:10:28 AM Body Horror and Post-Socialist Cinema 35 of the body to the social, the relation of the sexes to each other, the structure of the psyche, or the workings of history” (1989: 57). The bachelor machine is a maleinitiated and male-centered device; it is “typically a closed, self-sufficient system” whose “common themes” include “voyeurism and masturbatory eroticism, the dream of the mechanical reproduction of art, and artificial birth or reanimation” (1989: 57). The bachelor machine is thus a symptom and an expression of “a fantasy of closure, perfectibility, and mastery” (58).
At the last moment, Lajos presses a button; the machine decapitates him and cuts off his raised right arm. Lajos has turned himself, as well as his father, into a trophy or a statue. Each of Taxidermia’s three parts thus presents a particular regime of the body, associated with a dominant political and economic order. This is how the film works within a Nietzschean/Foucaultian genealogy. Each of the three regimes has its own representational style. ” Each defines “masculinity” in its own particular manner.
Far from fulfilling the needs and desires of humanity, the universal triumph of capitalism seems to have propelled us into a condition of perpetual financial instability, increasing economic inequality, and a ubiquitous cynicism that corrodes all effort and all hope. We are now in the terminal state that Mark Fisher calls “capitalist realism”; a situation in which “beliefs have collapsed at the level of ritual or symbolic elaboration, and all that is left is the consumer-spectator, trudging through the ruins and the relics” (2009: 4).
A Companion to Eastern European Cinemas by Anikó Imre