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The national cinemas of Czechoslovakia and East Germany were two of
the most vital sites of filmmaking in the Eastern Bloc, and over
the course of two decades, they contributed to and were shaped by
such significant developments as Sovietization, de-Stalinization,
and the conservative retrenchment of the late 1950s. This volume
comprehensively explores the postwar film cultures of both nations,
using a "stereoscopic" approach that traces their similarities and
divergences to form a richly contextualized portrait. Ranging from
features to children's cinema to film festivals, the studies
gathered here provide new insights into the ideological, political,
and economic dimensions of Cold War cultural production.
The national cinemas of Czechoslovakia and East Germany were two of
the most vital sites of filmmaking in the Eastern Bloc, and over
the course of two decades, they contributed to and were shaped by
such significant developments as Sovietization, de-Stalinization,
and the conservative retrenchment of the late 1950s. This volume
comprehensively explores the postwar film cultures of both nations,
using a "stereoscopic" approach that traces their similarities and
divergences to form a richly contextualized portrait. Ranging from
features to children's cinema to film festivals, the studies
gathered here provide new insights into the ideological, political,
and economic dimensions of Cold War cultural production.
This book analyses the film industries and cinema cultures of
Nazi-occupied countries (1939-1945) from the point of view of
individuals: local captains of industry, cinema managers, those
working for film studios and officials authorized to navigate film
policy. The book considers these people from a historical
perspective, taking into account their career before the occupation
and, where relevant, pays attention to their post-war lives. The
perspectives of these historical agents" contributes to an
understanding of how top-down orders and haphazard signals from the
occupying administration were moulded, adjusted and distorted in
the process of their translation and implementation. This edited
collection offers a more dynamic and less deterministic approach to
research on the international expansion of Third-Reich cinema in
World War Two; an approach that strives to balance the role of
individual agency with the structural determinants. The case
studies presented in this book cover the territories of Belgium,
Czechoslovakia, France, the Netherlands, Norway, Poland and the
Soviet Union.
This book analyses the film industries and cinema cultures of
Nazi-occupied countries (1939-1945) from the point of view of
individuals: local captains of industry, cinema managers, those
working for film studios and officials authorized to navigate film
policy. The book considers these people from a historical
perspective, taking into account their career before the occupation
and, where relevant, pays attention to their post-war lives. The
perspectives of these historical agents" contributes to an
understanding of how top-down orders and haphazard signals from the
occupying administration were moulded, adjusted and distorted in
the process of their translation and implementation. This edited
collection offers a more dynamic and less deterministic approach to
research on the international expansion of Third-Reich cinema in
World War Two; an approach that strives to balance the role of
individual agency with the structural determinants. The case
studies presented in this book cover the territories of Belgium,
Czechoslovakia, France, the Netherlands, Norway, Poland and the
Soviet Union.
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