Caught In-Between : : Intermediality in Contemporary Eastern European and Russian Cinema /

Caught In-Between : : Intermediality in Contemporary Eastern European and Russian Cinema / / Ágnes Pethő.

Explores the intermedial poetics of the post-communist cinemas of Eastern Europe and RussiaProvides in-depth and comparative analyses of films, with case studies covering fiction films, documentaries, avant-garde experiments, arthouse movies and mainstream cinemaCinematic case studies are drawn from...

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Bibliographic Details
Superior document:Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2020
VerfasserIn:
Pethő, Ágnes,
MitwirkendeR:
Blos-Jáni, Melinda,
Bugaj, Malgorzata,
Chinita, Fátima,
Gyenge, Zsolt,
Király, Hajnal,
Kránicz, Bence,
Laverdière, Gabriel,
Pethő, Ágnes,
Pieldner, Judit,
Sera, Mareike,
Stojanova, Christina,
Sándor, Katalin,
Place / Publishing House:Edinburgh : : Edinburgh University Press, , [2022]
©2020
Year of Publication:2022
Language:English
Series:Edinburgh Studies in Film and Intermediality : ESFI
Online Access:
Physical Description:1 online resource (254 p.) :; 45 B/W illustrations
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Table of Contents:
  • Frontmatter
  • Contents
  • Figures
  • Th e Contributors
  • Introduction: The Art of In-Betweenness in Contemporary Eastern European Cinema
  • Part 1 Entangled Sensations, Cinema in-between the Arts
  • 1 Intermedially Emotional: Musical Mood Cues, Disembodied Feelings in Contemporary Hungarian Melodramas
  • 2 Black-and-White Sensations of History and Female Identity in Contemporary Polish and Czech Cinema
  • 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
  • 4 Intermedial Densities in the Work of Jan Švankmajer: A Media-Anthropological Case Study
  • Part 2 Immersions into Memory, Culture and Intermediality
  • 5 Trickster Narratives and Carnivalesque Intermediality in Contemporary Romanian Cinema
  • 6 Photographic Passages to the Past in Eastern European Non-Fiction Films
  • 7 Trauma, Memorialisation and Intermediality in Jasmila Žbanić’s For Those Who Can Tell No Tales
  • 8 An Immersive Theatrical Journey through Media and Time in Alexander Sokurov’s Russian Ark
  • Part 3 Reflections upon Reality, Representation and Power
  • 9 The Real and the Intermedial in Alexander Sokurov’s Family Trilogy
  • 10 This is Not Magritte: Corneliu Porumboiu’s Theory of Representation
  • 11 Intermedial Détrompe l’Oeil and Contemporary Polish Narrative Cinema
  • 12 Superhero Genre and Graphic Storytelling in Contemporary Hungarian and Russian Cinema
  • Index

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