The Cinema Makers
Public Life and the Exhibition of Difference in South-Eastern and Central Europe since the 1960s
Distributed for Intellect Ltd
240 pages
|
49 halftones
|
7 x 9
- Contents
Table of Contents
Contents
List of Illustrations
Acknowledgements
Abbreviations
Introduction
Chapter 1: In the middle of things: city, cinema and the public sphere
1.1. Cinema’s potential for creating a public sphere
1.2. Difference and the unfamiliar
1.3. The subject in process: rituals, revolt and storytelling
Chapter 2: Movements and places: modern order and the cinema-squats of the 1960s
2.1. Cinema and the modern attempt to eliminate ambivalence
2.2. To become cinema-makers: expanded and other cinemas, the Crni Talas and OHO
2.3. Transnationality: interaction and struggle vis-à-vis offi cial strategies
2.4. Diff erence, privatized ambivalence and the (informal) public sphere
Chapter 3: Films and urban interventions: the rediscovery of difference since the 1960s
3.1. The migrant guest worker: Fassbinder’s interventions in the projection spaces of the imagination
3.2. The figuration of difference as aesthetic, sexual and ethnic difference in Yugoslav cinema since the 1960s
Chapter 4: Follow-up initiatives
4.1. Violence and humour: cinema activism in times of war
4.2. Enthusiasm and critique: cinema between fl ash mob, new urban transition spaces and art
Interviews Cited
References
Acknowledgements
Abbreviations
Introduction
Chapter 1: In the middle of things: city, cinema and the public sphere
1.1. Cinema’s potential for creating a public sphere
1.2. Difference and the unfamiliar
1.3. The subject in process: rituals, revolt and storytelling
Chapter 2: Movements and places: modern order and the cinema-squats of the 1960s
2.1. Cinema and the modern attempt to eliminate ambivalence
2.2. To become cinema-makers: expanded and other cinemas, the Crni Talas and OHO
2.3. Transnationality: interaction and struggle vis-à-vis offi cial strategies
2.4. Diff erence, privatized ambivalence and the (informal) public sphere
Chapter 3: Films and urban interventions: the rediscovery of difference since the 1960s
3.1. The migrant guest worker: Fassbinder’s interventions in the projection spaces of the imagination
3.2. The figuration of difference as aesthetic, sexual and ethnic difference in Yugoslav cinema since the 1960s
Chapter 4: Follow-up initiatives
4.1. Violence and humour: cinema activism in times of war
4.2. Enthusiasm and critique: cinema between fl ash mob, new urban transition spaces and art
Interviews Cited
References
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