By Anikó Imre
A better half to jap ecu Cinemas showcases twenty-five essays written via confirmed and rising movie students that hint the background of japanese ecu cinemas and supply an up to date overview of post-socialist movie cultures.
- Showcases serious historic paintings and updated tests of post-socialist movie cultures
- Features attention of lesser identified components of research, equivalent to Albanian and Baltic cinemas, renowned style movies, cross-national distribution and aesthetics, animation and documentary
- Places the cinemas of the zone in a eu and international context
- Resists the chilly conflict category of jap eu cinemas as “other” artwork cinemas via reconnecting them with the most circulate of movie studies
- Includes dialogue of such motion pictures as Taxidermia, El Perro Negro, 12:08 East of Bucharest large Tõll, and Breakfast at the Grass and explores the paintings of administrators together with Tamás Almási, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej ?u?awski, and Karel Vachek among many others
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Extra resources for A Companion to Eastern European Cinemas
This tension between schematic formalist distance and affective intensity has its roots in earlier Hungarian film, and perhaps especially in the historical dramas of Miklós Jancsó. It is also reminiscent of the aesthetic strategies of certain other European directors, such as Pasolini and Greenaway. But Pálfi’s particular conjunction of intimacy and allegory, or of body horror and alienation effect, works as a formal methodology for his genealogical investigations. The difficulty, no less than the beauty, of Taxidermia comes from the way that the film presents its body images directly, without historical development and without psychological explanation.
To embody “actually existing socialism” in a repulsive speed-eating contest, or to express “capitalist realism” in a machine for self-evisceration, is to short-circuit the relation between the literal and the figurative, as well as between what Marxists traditionally call the base and the superstructure. In each of the film’s three sections a whole assemblage of social institutions, ideological presuppositions, reiterated practices, and complex determinations is inscribed directly upon, and made to fall back upon (se rebattre sur – cf.
Through its form and style, no less than through its content, Taxidermia makes visible (and audible) to us a ubiquitous, but diffuse and impalpable, network of power relations, social norms, and ideological background assumptions. Each part of the film traces one of the ways that social, political, and economic forces are literalized, implanted directly in the flesh, and thereby expressed in the bodily anguish of a single male protagonist. Taxidermia does not tell an actual story so much as dramatize and explore a discontinuous series of attractions and repulsions among grotesquely deformed bodies.