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Product Description
Product Description
European Cinema is the first book to provide overviews of key movements in European film history, from the inception of the medium in 1895 to the present. This text includes accessible introductions to traditions as diverse as early Soviet cinema, German Expressionism, Surrealism, Italian Neoralism, the French New Wave, Ealing Comedy, East-Central European cinema, Contemporary Spanish cinema, and much more. Top international scholars specially commissioned for this volume examine artistic developments in their industrial and more broadly historical context. The book is divided chronologically into three sections, making it ideal for use in university film courses, and includes an invaluable glossary (comprising historical and foreign-language terms as well as technical terminology).
About the Author
Dr. Elizabeth Ezra is a Lecturer in European Film and Media at the University of Stirling. She took her Ph.D. at Cornell University in 1992. Her previous publications include Georges M�li�s: The Birth of the Auteur (Manchester University Press, 2000), The Colonial Unconscious: Race and Culture in Interwar France (Cornell University Press, 2000) and co-edited with Sue Harris France in Focus: Film and National Identity (Bergman, 2001).
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Film history is characterized by certain grand narratives. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Film history is characterized by certain grand narratives. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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5 of 6 people found the following review helpful
impressive sweep, but can't cover subjects in depth
24 July 2006
The book really only exists as a lead into its subject. The vast differences in the national trends all over Europe since films first arose causes this. Nonetheless, you might get a good top level appreciation of, say, Soviet film making, from 1920 to the end of the Soviet Union. Or of the films of Weimar Germany. Space considerations restrict those 2 examples to one chapter each. Fans obviously will want more detailed texts. But the sweep of the book is impressive.
The one big omission is a study of films made in Nazi Germany. There are chapters on German film making before (as mentioned above) and after those years. Probably because Nazi films are a uniquely pathological case, even more so than Soviet films, and might have made an awkward fit with the rest of the book.
The one big omission is a study of films made in Nazi Germany. There are chapters on German film making before (as mentioned above) and after those years. Probably because Nazi films are a uniquely pathological case, even more so than Soviet films, and might have made an awkward fit with the rest of the book.
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