Popular European Cinema examines the reasons why films that are most popular with audiences in any one European countha are seldom successful eslewhere. Audiences themselves represent diverse class, gender and ethnic identities that complicate th equestoin of national cinema, not least with recent developments in formerly communist Eastern Europe and post-colonialist Western Europe. THrough their individual studies, the contribuitots ehr oven up a new area of study, using the medium of film to fucus a wider discussion of popular European culture.
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First Sentence:
Jean Renoir's Le Crime de Monsieur Lange (The Crime of Monsieur Lange, 1935) always rises into focus as an eloquent image helping us sort out that melange of competing values that defined French culture at the moment of the Popular Front. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
female narrative perspective, beur films, beur cinema, rural films, ley del deseo, fairground entertainment, adventure formulas, exhibition sector, popular cinema, national romanticism, spaghetti westerns, dominating discourse, historical films, classical body Key Phrases - Capitalized Phrases (CAPs): (learn more)
Hallo Caesar, British Film Institute, Uuno Turhapuro, New York, North African, New Norwegian, Steve Reeves, Henny Porten, Vesa-Matti Loiri, The Private Life of Henry, Victoria the Great, Barbara Steele, United States, Dano Norwegian, Exhibition of Agriculture, Ingrid Bergman, Olympic Games, Robin Hood, Roger Le Bon, Sergio Leone, Soviet Union, Catherine the Great, Conrad Veidt, Gli Amori, Harold Lloyd New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Jean Renoir's Le Crime de Monsieur Lange (The Crime of Monsieur Lange, 1935) always rises into focus as an eloquent image helping us sort out that melange of competing values that defined French culture at the moment of the Popular Front. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
female narrative perspective, beur films, beur cinema, rural films, ley del deseo, fairground entertainment, adventure formulas, exhibition sector, popular cinema, national romanticism, spaghetti westerns, dominating discourse, historical films, classical body Key Phrases - Capitalized Phrases (CAPs): (learn more)
Hallo Caesar, British Film Institute, Uuno Turhapuro, New York, North African, New Norwegian, Steve Reeves, Henny Porten, Vesa-Matti Loiri, The Private Life of Henry, Victoria the Great, Barbara Steele, United States, Dano Norwegian, Exhibition of Agriculture, Ingrid Bergman, Olympic Games, Robin Hood, Roger Le Bon, Sergio Leone, Soviet Union, Catherine the Great, Conrad Veidt, Gli Amori, Harold Lloyd New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 58
books:
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57
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- From Caligari to Hitler: A Psychological History of the German Film (Princeton Classic Editions) by Siegfried Kracauer on page 72, and page 86
- The Politics and Poetics of Transgression by Peter Stallybrass on page 137, and page 140
- Eugene Onegin (Wordsworth Classics of World Literature) by A.S. Pushkin on page 98
- Eugene Onegin (Penguin Classics) by Alexander Pushkin on page 98
- Uncommon Cultures: Popular Culture and Post-Modernism by Jim Collins on page 29
See all 58 books this book cites
- European Cinema Reader by Catherine Fowler in Back Matter (1), Back Matter (2), and Back Matter (3)
- Spanish National Cinema (National Cinemas) by Núria Triana-Toribio in Back Matter (1), Back Matter (2), and Back Matter (3)
- European Cinema Reader by Catherine Fowler in Back Matter (1), Back Matter (2), and Back Matter (3)
- Spanish National Cinema (National Cinemas) by Núria Triana-Toribio in Back Matter (1), Back Matter (2), and Back Matter (3)
- Chanteuse in the City: The Realist Singer in French Film by Kelley Conway in Back Matter (1), and Back Matter (2)
See all 57 books citing this book
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