Small Cinemas in Global Markets addresses aspects such as identity, revisiting the past, internationalized genres, new forms of experimental cinema, markets and production, as well as technological developments of alternative small screens that open new perspectives into small cinema possibilities. Small and big markets for small industries reveal an unimagined diversification of the cultural product and consequently the need to analyze the impact at local, regional, and global levels. Much needed to continue and expand the existing scholarship in the field, this volume is based on research by authors who approach their subject from Western theoretical perspectives with a professional (mostly native) knowledge of the language, cultural realities, and film industry practices. It covers aspects from fifteen different countries, including Bolivia, Brazil, China (Hong Kong), Croatia, East Africa (Kenya, Tanzania, and Uganda), Greece, Indonesia, Lithuania, Bulgaria, Poland, Romania, Morocco, and the United States. Since both film and documentary distribution from certain areas of the globe on international markets remains problematic, it is important for the academic field to discuss and circulate them as much as possible, and to create the basis for further exploration. Documenting and reflecting on the role, state, and reception of the film industry provides scholarly understanding to the industry's wide range of seemingly chaotic technological transformations.

The work of Andrzej Wajda, one of the world's most important filmmakers, shows remarkable cohesion in spite of the wide ranging scope of his films, as this study of his complete output of feature films shows. Not only do his films address crucial historical, social and political issues; the complexity of his work is reinforced by the incorporation of the elements of major film and art movements. It is the reworking of these different elements by Wajda, as the author shows, which give his films their unique visual and aural qualities.

Andrzej Wajda is considered one of Poland's - many would say the world's - greatest film directors. During the thirty-five years of his activity in film, theatre or television, his work, whether strong or weak, always arouses strong emotions and provokes intense debates in the media. His films deal with historical and political issues concerning Polish character and the nature of political power. Controversial, painful, stimulating and cinematically beautiful, they never fail to fully engage the spectator. This is particularly true for his major political films, which form the basis of the study. Applying Bakhtin's concept of dialogism, the author shows how a creative interaction between the image on the screen and the viewer is established through Wajda's films. At the same time, she offers a detailed analysis of the historical events leading up to the collapse of the Socialist system in Poland. Janina Falkowska graduated in English from the University of Poznan, Poland, and received her PhD from McGill University. She now teaches film at the University of Western Ontario.

The work of Andrzej Wajda, one of the world's most important filmmakers, shows remarkable cohesion in spite of the wide ranging scope of his films, as this study of his complete output of feature films shows. Not only do his films address crucial historical, social and political issues; the complexity of his work is reinforced by the incorporation of the elements of major film and art movements. It is the reworking of these different elements by Wajda, as the author shows, which give his films their unique visual and aural qualities.

This book examines small cinemas and their presentation of society in times of crisis and conflict from an interdisciplinary and intercultural point of view. The authors concentrate on economic, social and political challenges and point to new phenomena which have been exposed by film directors. They present essays on, among others, Basque cinema; gendered controversies in post-communist small cinemas in Slovakia and Czech Republic; ethnic stereotypes in the works of Polish filmmakers; stereotypical representation of women in Japanese avant-garde; post-communist political myths in Hungary; the separatist movements of Catalonia; people in diasporas and during migrations. In view of these timely topics, the book touches on the most serious social and political problems. The films discussed provide an excellent platform for enhancing debates on politics, gender, migration and new aesthetics in cinema at departments of history, sociology, literature and film.