{"product_id":"cinema-and-the-environment-in-eastern-europe-from-communism-to-capitalism-9781805391050","title":"Cinema and the Environment in Eastern Europe:","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tThe annexation of Eastern Europe to the Soviet sphere after World War II dramatically reshaped popular understandings of the natural environment. With an eco-critical approach, \u003cem\u003eCinema and the Environment in Eastern Europe \u003c\/em\u003ebreaks new ground in documenting how filmmakers increasingly saw cinema as a tool to critique the social and environmental damage of large-scale projects from socialist regimes and newly forming capitalist presences. New and established scholars with backgrounds across Europe, the United States, and Australia come together to reflect on how the cultural sphere has, and can still, play a role in redefining our relationship to nature.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \t\u003cem\u003e“This collection provides a comprehensive analysis of Eastern European film culture and ecocinema, integrating them expertly to provide a deep historical and geocultural analysis of variations in ecocinematic representations and the ways these film cultures have been engaging with environmental matters. The contextualization of existing scholarship with the particularities of Eastern European political and cultural history is exciting and innovative.”\u003c\/em\u003e \u003cstrong\u003e• Pietari Kaapa\u003c\/strong\u003e, University of Warwick\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tList of Illustrations\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eIntroduction\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eMasha Shpolberg and Lukas Brasiskis\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePart I: Industrializing the Bloc: Cinema of the Socialist Period\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 1.\u003c\/strong\u003e Sad Landscapes: Panoramic Photography and Documentary Film in the Czech Lands\u003cbr\u003e \t\u003cem\u003eKatie Trumpener and Alice Lovejoy\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 2.\u003c\/strong\u003e From Mastery to Indistinction: Nature in Thaw-Era Cinema\u003cbr\u003e \t\u003cem\u003eLida Oukaderova\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 3.\u003c\/strong\u003e Spectres of Ecology in Cold War Soviet Science Fiction Film\u003cbr\u003e \t\u003cem\u003eNatalija Majsova\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePart II: Environmental Crisis and the Nuclear Imaginary\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 4.\u003c\/strong\u003e Post-Apocalyptic Landscapes: \u003cem\u003eThe End of August at the Hotel Ozone\u003c\/em\u003e and the Czechoslovak New Wave\u003cbr\u003e \t\u003cem\u003eBarbora Bartunkova\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 5.\u003c\/strong\u003e Fallow Fields: Crises of Masculinity and Ecology in Piotr Andrejew’s ‘Tender Spots’\u003cbr\u003e \t\u003cem\u003eEliza Rose\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 6.\u003c\/strong\u003e Catastrophe, Obliquely: The Revival of the Essay Film Form in Soviet Documentaries About Chernobyl\u003cbr\u003e \t\u003cem\u003eMasha Shpolberg\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePart III: Animals Between the Natural and the Social\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 7.\u003c\/strong\u003e Animals in Modernity: Shaping the Urban Landscape in Lithuanian Documentary\u003cbr\u003e \t\u003cem\u003eNatalija Arlauskaitė\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 8.\u003c\/strong\u003e Mongrelizing Interpretation: The Animal in Contemporary Hungarian Cinema\u003cbr\u003e \t\u003cem\u003eRaymond DeLuca\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePart IV: From Communism to Capitalism: Privatization and the Commons\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 9.\u003c\/strong\u003e\u003cem\u003e Okraina \u003c\/em\u003eand ‘Oil Ontology’ in Post-Soviet Russian Cinema\u003cbr\u003e \t\u003cem\u003eJosé Alaniz\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 10.\u003c\/strong\u003e The Commercialization and Destruction of Nature in Contemporary Bulgarian Cinema\u003cbr\u003e \t\u003cem\u003eDina Iordanova\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePart V: Towards an Eastern European Eco-cinema\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 11.\u003c\/strong\u003e Coming to the Senses: Environmental Ethics in Contemporary Slovenian Cinema\u003cbr\u003e \t\u003cem\u003eMeta Mazaj\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 12.\u003c\/strong\u003e Cinema of the Forest People: Environmental Consciousness, Authorship and Genre in Post-1989 Polish Film\u003cbr\u003e \t\u003cem\u003eKris Van Heuckelom\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 13.\u003c\/strong\u003e Beyond the Utopian Landscape in Post-Soviet Russian Cinema\u003cbr\u003e \t\u003cem\u003eJeremi Szaniawski and Michael Cramer\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 14.\u003c\/strong\u003e Recycling, Citroën Cars, and Roma Refugees in Boris Mitić’s Pretty Dyana (2003)\u003cbr\u003e \t\u003cem\u003eAlice Bardan\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 15.\u003c\/strong\u003e From Water to Wind: Elemental Critique in Recent Eastern European Video Art\u003cbr\u003e \t\u003cem\u003eLukas Brasiskis\u003c\/em\u003e\u003c\/p\u003e","brand":"Berghahn Books","offers":[{"title":"Default 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