{"product_id":"the-emergence-of-film-culture-knowledge-production-institution-building-and-the-fate-of-the-avant-garde-in-europe-1919-1945-9781785333545","title":"The Emergence of Film Culture: Knowledge","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tBetween the two world wars, a distinct and vibrant film culture emerged in Europe. Film festivals and schools were established; film theory and history was written that took cinema seriously as an art form; and critical writing that created the film canon flourished. This scene was decidedly transnational and creative, overcoming traditional boundaries between theory and practice, and between national and linguistic borders. This new European film culture established film as a valid form of social expression, as an art form, and as a political force to be reckoned with. By examining the extraordinarily rich and creative uses of cinema in the interwar period, we can examine the roots of film culture as we know it today.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \t\u003cb\u003e2014 PREMIO LIMINA PRIZE FOR BEST FILM STUDIES BOOK (IN A LANGUAGE OTHER THAN ITALIAN) \u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“…the book offers a rich and articulated picture of the organization and building of film culture in interwar Europe, and proves to be very keen in disclosing unexplored corners of well-known national film histories (as the Italian and German ones), but also of little explored scenarios (such as Swedish film culture or the Yugoslavian case).”\u003c\/em\u003e \u003cstrong\u003e· Historical Journal of Film, Radio and Television\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“[C]ontributes significantly to...a welcome turn among film historians who increasingly inscribe individual films, directors, and national practices within transnational, regional, and global film cultures...has the potential to become a key reference for critical approaches to film cultures in interwar Europe.”\u003c\/em\u003e\u003cstrong\u003e  ·  Steven Ungar, \u003c\/strong\u003eUniversity of Iowa\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“This newest anthology is a wonderful contribution to the field...offer[ing] valuable takes on the development of European film culture in the interwar period...[I]t goes beyond the usual suspects (say, France and Germany) to examine the flourishing of a new film culture in many other contexts throughout Europe.  There is an opening up of film historiography here in a way that is quite exciting and quite productive.”\u003c\/em\u003e\u003cstrong\u003e  ·  \u003c\/strong\u003e\u003cstrong\u003eDana Polan\u003cem\u003e, \u003c\/em\u003e\u003c\/strong\u003eNew York University\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tList of Figures\u003cbr\u003e \tAcknowledgements\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eIntroduction:\u003c\/strong\u003e The Emergence of Film Culture\u003cbr\u003e \t\u003cem\u003eMalte Hagener\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART I: FORMATIONS OF KNOWLEDGE\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 1.\u003c\/strong\u003e Policing Race. Postcolonial Critique, Censorship and Regulatory Responses to the Cinema in Weimar Film Culture\u003cbr\u003e \t\u003cem\u003eTobias Nagl\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 2. \u003c\/strong\u003eThe Visible Woman in and against Béla Balázs\u003cbr\u003e \t\u003cem\u003eErica Carter\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 3.\u003c\/strong\u003e Encounters in Darkened Rooms: Alternative Programming of the Dutch Filmliga, 1927-1931\u003cbr\u003e \t\u003cem\u003eTom Gunning \u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 4.\u003c\/strong\u003e When Was Soviet Cinema Born? The Institututionalization of Soviet Film Studies and the Problems of Periodization\u003cbr\u003e \t\u003cem\u003eNatalya Ryabchikova\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART II: NETWORKS OF EXCHANGE \u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 5. \u003c\/strong\u003eEastern Avatars. Russian Influence on European Avant-gardes\u003cbr\u003e \t\u003cem\u003eIan Christie\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 6. \u003c\/strong\u003eEarly Yugoslav ciné-amateurism: Cinéphilia and the institutionalization of film culture in the Kingdom of Yugoslavia during the interwar period\u003cbr\u003e \t\u003cem\u003eGreg DeCuir, Jr.\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 7.\u003c\/strong\u003e Soviet-Italian Cinematic Exchanges. Transnational Film Education in the 1930s\u003cbr\u003e \t\u003cem\u003eMasha Salazkina\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 8. \u003c\/strong\u003eThe Avant-garde, Education and Marketing: The Making of Non-Theatrical Film Culture in Interwar Switzerland\u003cbr\u003e \t\u003cem\u003eYvonne Zimmermann\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART III: EMERGENCE OF INSTITUTIONS \u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 9.\u003c\/strong\u003e Interwar Film Culture in Sweden. Avant-Garde Transactions in the Emergent Welfare State\u003cbr\u003e \t\u003cem\u003eLars Gustaf Andersson\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 10.\u003c\/strong\u003e Building the Institution. Luigi Chiarini and Italian Film Culture in the 1930s\u003cbr\u003e \t\u003cem\u003eFrancesco Pitassio and Simone Venturini\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 11. \u003c\/strong\u003eA New Art for a New Society? The Emergence and Development of Film Schools in Europe\u003cbr\u003e \t\u003cem\u003eDuncan Petrie\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 12. \u003c\/strong\u003eInstitutions of Film Culture. Festivals and Archives as Network Nodes\u003cbr\u003e \t\u003cem\u003eMalte Hagener\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 13. \u003c\/strong\u003eThe German Reichsfilmarchiv in an International Context\u003cbr\u003e \t\u003cem\u003eRolf Aurich\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \tNotes on Contributors\u003cbr\u003e \tBibliography\u003cbr\u003e \tIndex\u003c\/p\u003e","brand":"Berghahn Books","offers":[{"title":"Default Title","offer_id":51042389524823,"sku":"9781785333545","price":26.55,"currency_code":"GBP","in_stock":false}],"url":"https:\/\/bookcurl.com\/products\/the-emergence-of-film-culture-knowledge-production-institution-building-and-the-fate-of-the-avant-garde-in-europe-1919-1945-9781785333545","provider":"Book Curl","version":"1.0","type":"link"}