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This book offers a unique perspective on contemporary Polish
cinema's engagement with histories of Polish violence against their
Jewish neighbours during the Holocaust. Moving beyond conventional
studies of historical representation on screen, the book considers
how cinema reframes the unwanted knowledge of violence in its
aftermaths. The book draws on Derridean hauntology, Didi-Huberman's
confrontations with art images, Levinasian ethics and anamorphosis
to examine cinematic reconfigurations of histories and memories
that are vulnerable to evasion and formlessness. Innovative
analyses of Birthplace (Lozinski, 1992), It Looks Pretty From a
Distance (Sasnal, 2011), Aftermath (Pasikowski, 2012), and Ida
(Pawlikowski, 2013) explore how their rural filmic landscapes are
predicated on the radical exclusion of Jewish neighbours, prompting
archaeological processes of exhumation. Arguing that the
distressing materiality of decomposition disturbs cinematic
composition, the book examines how Poland's aftermath cinema
attempts to recompose itself through form and narrative as it faces
Polish complicity in Jewish death.
Bringing together a range of theoretical and critical approaches,
this edited collection is the first book to examine representations
of the body in Eastern European and Russian cinema after the Second
World War. Drawing on the history of the region, as well as Western
and Eastern scholarship on the body, the book focuses on three
areas: the traumatized body, the body as a site of erotic pleasure,
and the relationship between the body and history. Critically
dissecting the different ideological and aesthetic ways human
bodies are framed, 'The Cinematic Bodies of Eastern Europe and
Russia' also demonstrates how bodily discourses oscillate between
complicity and subversion, and how they shaped individuals and
societies both during and after the period of state socialism.
Bringing together a range of theoretical and critical approaches,
this edited collection is the first book to examine representations
of the body in Eastern European and Russian cinema after the Second
World War. Drawing on the history of the region, as well as Western
and Eastern scholarship on the body, the book focuses on three
areas: the traumatized body, the body as a site of erotic pleasure,
and the relationship between the body and history. Critically
dissecting the different ideological and aesthetic ways human
bodies are framed, The Cinematic Bodies of Eastern Europe and
Russia also demonstrates how bodily discourses oscillate between
complicity and subversion, and how they shaped individuals and
societies both during and after the period of state socialism.
This book places the concept of duration at the centre of an
understanding of cinema and spectatorship. The process of aesthetic
imaging in time is a unique and fascinating characteristic of
cinema. Why, then, has temporality, and specifically duration,
received so little attention in theoretical accounts of film
experience? This book makes the concept of duration the central
tenet in an understanding of cinema and spectatorship. From this
vantage point, the book reviews two major strands of film theory:
embodied viewing and the senses, and the film-philosophy of Gilles
Deleuze. Unlike much contemporary film theory, Mroz's book
emphasises the necessity of considering the close relationship
between intellectual comprehension and sensual apprehension, as
mediated through film aesthetics. In the duration of the film
experience, sensual responses to filmed textures and the
interpretive contexts that we inevitably bring to bear on films are
continually interacting. Exactly how this occurs is demonstrated in
detailed case studies of films by Antonioni (L'Avventura),
Tarkovsky (Mirror) and Kieslowski (The Decalogue).
This book presents a new approach to the issue of temporality in
film. Matilda Mroz argues that cinema provides an ideal opportunity
to engage with ideas of temporal flow and change. Temporality,
however, remains an underexplored area of film analysis, which
frequently discusses images as though they were still rather than
moving. This book traces the operation of duration in cinema, and
argues that temporality should be a central concern of film
scholarship. In close readings of Michelangelo Antonioni's
"L'Avventura", Andrei Tarkovsky's "Mirror", and the ten short films
that make up Krzysztof Kieslowski's "Decalogue" series, Mroz
highlights how film analysis must consider both particular moments
in cinema which are critically significant, and the way in which
such moments interrelate in temporal flux. She explores the
concepts of duration and rhythm, resonance and uncertainty, affect,
sense and texture, to bring a fresh perspective to film analysis
and criticism. Essential reading for students and scholars in Film
Studies, this engaging study will also be a valuable resource for
critical theorists.
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