Contrary to the assumption that Western and Eastern European economies and cinemas were very different from each other, they actually had much in common. After the Second World War both the East and the West adopted a mixed system, containing elements of both socialism and capitalism, and from the 1980s on the whole of Europe, albeit at an uneven speed, followed the neoliberal agenda. This book examines how the economic systems of the East and West impacted labor by focusing on the representation of work in European cinema. Using a Marxist perspective, it compares the situation of workers in…mehr
Contrary to the assumption that Western and Eastern European economies and cinemas were very different from each other, they actually had much in common. After the Second World War both the East and the West adopted a mixed system, containing elements of both socialism and capitalism, and from the 1980s on the whole of Europe, albeit at an uneven speed, followed the neoliberal agenda. This book examines how the economic systems of the East and West impacted labor by focusing on the representation of work in European cinema. Using a Marxist perspective, it compares the situation of workers in Western and Eastern Europe as represented in both auteurist and popular films, including those of Tony Richardson, Lindsay Anderson, Jean-Luc Godard, Andrzej Wajda, DusanMakavejev, Jerzy Skolimowski, the Dardenne Brothers, Ulrich Seidl and many others.
Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire, UK. She has published over twenty monographs and edited collections on film and popular music, including Contemporary Cinema and Neoliberal Ideology (co-edited with Lars Kristensen, 2018), Sounds Northern: Popular Music, Culture and Place in England's North (2018), Popular Music in Eastern Europe: Breaking the Cold War Paradigm (2016) and Relocating Popular Music (co-edited with Georgina Gregory, 2015). Her recent monograph on popular electronic music in Vienna is forthcoming in 2019. Mazierska's work has been translated into over twenty languages. She is also principal editor of Studies in Eastern European Cinema.
Inhaltsangabe
List of Illustrations Acknowledgements Introduction Chapter 1.Homo Faber and the Work of Cinema Chapter 2. The 1960: In Search of Self- Fulfilment Chapter 3. The 1970s: Seeking Change Chapter 4. The 1980s: Learning to Survive Chapter 5. The 1990s, the 2000s and Beyond: Moving towards the Unknown Conclusions: Towards the New Cinema of Work and Idleness Notes Bibliography Index
List of Illustrations Acknowledgements Introduction Chapter 1.Homo Faber and the Work of Cinema Chapter 2. The 1960: In Search of Self- Fulfilment Chapter 3. The 1970s: Seeking Change Chapter 4. The 1980s: Learning to Survive Chapter 5. The 1990s, the 2000s and Beyond: Moving towards the Unknown Conclusions: Towards the New Cinema of Work and Idleness Notes Bibliography Index
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