This book rethinks the study of European Cinema in a way that centres on students and their needs, in a comprehensive volume introducing undergraduates to the main discourses, directions and genres of twenty-first-century European film. Importantly, this collection is the first of its kind to apply a transversal approach to European Cinema, bringing together the East and the West, while providing a broad picture of key trends, aesthetics, genres, national identities, and transnational concerns. Lewis and Canning's collection effectively addresses some of the most pressing questions in contemporary European film, such as ecology, migration, industry, identity, disability, memory, auteurship, genre, small cinemas, and the national and international frameworks which underpin them. Combining accessible original research with a thorough grounding in recent histories and contexts, each chapter includes key definitions, reflective group questions, and a summative case study. Overall, thisbook makes a strong contribution to our understanding of recent European Cinema, making it an invaluable resource for lecturers and students across a variety of film-centred modules.

Provides important insights into multiple key features unifying contemporary European cinema Builds upon existing studies on European Cinema, while acknowledging patterns and trends of recent film production and representation throughout the continent Applies some of the most pressing inquiries in contemporary European cinema to a wide-ranging and diverse selection of twenty-first century films from all corners of Europe Responds to an urgent need for an accessible and comprehensive collection introducing film students to the main concepts, discourses, directions and genres of twenty-first-century European Cinema

Autorentext

**Dr. Ingrid Lewis is Lecturer in Film Studies at Dundalk Institute of Technology, Ireland, where she teaches modules on European Cinema, Holocaust Film and Popular Culture, Film Theory and World Cinema. She is author of the book Women in European Holocaust Films: Perpetrators, Victims and Resisters (Palgrave Macmillan, 2017).
Dr. Laura Canning* is Senior Lecturer in Film at the School of Film & Television, Falmouth University, UK. Her most recent work includes contributions to Rethinking Genre in Contemporary Global Cinema, eds. Silvia Dibeltulo and Ciara Barrett (2018) and Women in Irish Film: Stories and Storytellers*, ed. Susan Liddy (forthcoming 2020).

Inhalt

1. Introduction: The Identity of European Cinema - Ingrid Lewis and Laura Canning.- PART I: Discourses.- 2.Nordic Cinema and Ecology: From Representation to Brainprint - Pietari Kääpa.- 3.Migrations in European Documentary - Adam Vaughan.- 4. Questioning the Normality Drama: The Representation of Disability - Eleanor Andrews.- 5.Women's Memories in Holocaust Cinema - Ingrid Lewis.- 6. A Warrior and His Inevitable Defeat in Post-Yugoslav Cinema - Dino Murti.- PART II: Directions.- 7. Manoel de Oliveira Revisited: Auteur Cinema in the Twenty-First-Century - Ingrid Lewis and Irena Sever Globan.- 8. From The Death of Mr. Lazarescu to the Rebirth of Romanian Cinema - Doru Pop.- 9. Connecting Through Denial: Small Eastern European Cinemas/Mainstream Recognition - Andrea Virginás.- 10. I choose a film for the story not for the awards: Explaining the transnational appeal of contemporary European films - Huw Jones.- 11. A Political Economic Analysis of the Provision of Tax Incentives in Irish Cinema - Laura Canning and Maria O'Brien.- PART III: Genres.- 12. On the Eve of the Journey: The New European Road Movie - Laura Rascaroli.- 13. Analysing European Neo-Noir Cinema - Begoña Gutiérrez Martínez.- 14. Dystopia Regained: European Science Fiction Film - Mariano Paz.- 15. Spanish Horror Film - Vicente Rodriguez Ortega and Rubén Romero Santos.- 16. European Animated Film - Joshua Gulam.