European Cinema
European Cinema
Face to Face with Hollywood
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Table of Contents - 6 Preface - 10 Introduction: European Cinema: Conditions of Impossibility? - 14 National Cinema: Re-Definitions and New Directions - 34 European Culture, National Cinema, the Auteur and Hollywood - 36 ImpersoNations: National Cinema, Historical Imaginaries - 58 Film Festival Networks: the New Topographies of Cinema in Europe - 83 Double Occupancy and Small Adjustments: Space, Place and Policy in the New European Cinema since the 1990s - 109 Auteurs and Art Cinemas: Modernism and Self-Reference, Installation Art and Autobiography - 132 Ingmar Bergman – Person and Persona: The Mountain of Modern Cinema on the Road to Morocco - 134 Late Losey: Time Lost and Time Found - 156 Around Painting and the “End of Cinema”: A Propos Jacques Rivette’s La Belle Noiseuse - 166 Spellbound by Peter Greenaway: In the Dark ... and Into the Light - 179 The Body as Perceptual Surface: The Films of Johan van der Keuken - 194 Television and the Author’s Cinema: ZDF’s Das Kleine Fernsehspiel - 213 Touching Base: Some German Women Directors in the 1980s - 220 Europe-Hollywood-Europe - 232 Two Decades in Another Country: Hollywood and the Cinephiles - 234 Raoul Ruiz’s Hypothèse du Tableau Volé - 252 Images for Sale: The “New” British Cinema - 256 “If You Want a Life”: The Marathon Man - 271 British Television in the 1980s Through The Looking Glass - 279 German Cinema Face to Face with Hollywood: Looking into a Two-Way Mirror - 300 Central Europe Looking West - 320 Of Rats and Revolution: Dusan Makavejev’s The Switchboard Operator - 322 Defining DEFA’s Historical Imaginary: The Films of Konrad Wolf - 326 Under Western Eyes: What Does ¿i¿ek Want? - 343 Our Balkanist Gaze: About Memory’s No Man’s Land - 357 Europe Haunted by History and Empire - 372 Is History an Old Movie? - 374 Edgar Reitz’ Heimat: Memory, Home and Hollywood - 385 Discourse and History: One Man’s War – An Interview with Edgardo Cozarinsky - 396 Rendezvous with the French Revolution: Ettore Scola’s That Night in Varennes - 408 Joseph Losey’s The Go-Between - 413 Games of Love and Death: Peter Greenaway and Other Englishmen - 421 Border-Crossings: Filmmaking without a Passport - 432 Peter Wollen’s Friendship’s Death - 434 Andy Engel’s Melancholia - 437 On the High Seas: Edgardo Cozarinsky’s Dutch Adventure - 441 Third Cinema/World Cinema: An Interview with Ruy Guerra - 445 Ruy Guerra’s Erendira - 462 Hyper-, Retro- or Counter-: European Cinema as Third Cinema Between Hollywood and Art Cinema - 465 Conclusion - 484 European Cinema as World Cinema: A New Beginning? - 486 European Cinema: A Brief Bibliography - 516 List of Sources and Places of First Publication - 532 Index of Names - 536 Index of Film Titles / Subjects - 550

Thomas Elsaesser

European Cinema

Face to Face with Hollywood

In the face of renewed competition from Hollywood since the early 1980s and the challenges posed to Europe’s national cinemas by the fall of the Wall in 1989, independent filmmaking in Europe has begun to re-invent itself. European Cinema: Face to Face with Hollywood re-assesses the different debates and presents a broader framework for understanding the forces at work since the 1960s. These include the interface of “world cinema” and the rise of Asian cinemas, the importance of the international film festival circuit, the role of television, as well as the changing aesthetics of auteur cinema. New audiences have different allegiances, and new technologies enable networks to reshape identities, but European cinema still has an important function in setting critical and creative agendas, even as its economic and institutional bases are in transition.

Thomas Elsaesser

Thomas Elsaesser (1943-2019) was Professor of Film and Television Studies in the Department of Art and Culture at the University of Amsterdam.