tandf: Studies in Eastern European Cinema: Table of ContentsTable of Contents for Studies in Eastern European Cinema. List of articles from both the latest and ahead of print issues.
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tandf: Studies in Eastern European Cinema: Table of Contentstandfen-USStudies in Eastern European CinemaStudies in Eastern European Cinemahttps://www.tandfonline.com/cms/asset/1a126649-aa1b-4ca7-92eb-348bb46373b0/default_cover.jpg
https://www.tandfonline.com/loi/reec20?af=R
More than Comrades: queering Slovenian cinema in Yugoslavia
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2052229?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 70-86<br/>. <br/>Volume 15, Issue 1, November 2024, Page 70-86<br/>. <br/>More than Comrades: queering Slovenian cinema in Yugoslaviadoi:10.1080/2040350X.2022.2052229Studies in Eastern European Cinema2022-03-21T11:06:00ZJasmina ŠepetavcThe Centre for Cultural and Religious Studies, Faculty of Social Sciences, University of Ljubljana, Ljubljana, SloveniaJasmina Šepetavc holds a PhD in Gender Studies and is a researcher at the Centre for Cultural and Religious Studies (Faculty of Social Sciences, University of Ljubljana), a film critic and a film festival selector. Her research interests include film-, popular music-, feminist- and queer theory.Studies in Eastern European Cinema15170862024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2022.2052229https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2052229?af=RA Certain Kind of Happiness: Women and Disability in Recent Hungarian Cinema
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2060462?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 37-52<br/>. <br/>Volume 15, Issue 1, November 2024, Page 37-52<br/>. <br/>A Certain Kind of Happiness: Women and Disability in Recent Hungarian Cinemadoi:10.1080/2040350X.2022.2060462Studies in Eastern European Cinema2022-04-20T04:54:49ZLilla TőkeEnglish Department, CUNY, LaGuardia Community College, New York, NY, USALilla Tőke is Associate Professor of English at CUNY, LaGuardia Community College where she teaches composition, literature, and film courses. She obtained her PhD from Stony Brook University in Comparative Literary and Cultural Studies. She also holds an MPhil degree in Gender Studies from the Central European University, Budapest. Her scholarship focuses on communist and Postcommunist cinema and gender theory.Studies in Eastern European Cinema15137522024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2022.2060462https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2060462?af=RFragments of the Body: Woman in Socialist Screen Advertising
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2085363?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 3-19<br/>. <br/>Volume 15, Issue 1, November 2024, Page 3-19<br/>. <br/>Fragments of the Body: Woman in Socialist Screen Advertisingdoi:10.1080/2040350X.2022.2085363Studies in Eastern European Cinema2022-06-16T09:21:50ZLucie ČesálkováDepartment of Film Studies, Faculty of Arts, Charles University, Prague, Czech RepublicLucie Česálková is an Associate Professor at the Department of Film Studies, Faculty of Arts, Charles University, and an editor at Prague’s National Film Archive. In her research she focuses on nonfiction and documentary film, educational and advertising film, on film exhibition and moviegoing. Her research outputs appeared in journals such as Film History, The Moving Image, Memory Studies, Journal of Popular Culture, or Studies in Eastern European Cinema, as well as in edited volumes (Films that Sell. Moving Pictures and Advertising (Palgrave 2016); Rural Cinema Exhibition and Audiences in a Global Context (Palgrave 2018); Animation and Advertising (Palgrave 2019); The Routledge Companion to New Cinema History (Routledge 2019).Studies in Eastern European Cinema1513192024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2022.2085363https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2085363?af=RThe Representation of the Socialist Abortion Ban as Women’s Reproductive Burden in Postsocialist Romanian Cinema
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2087342?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 20-36<br/>. <br/>Volume 15, Issue 1, November 2024, Page 20-36<br/>. <br/>The Representation of the Socialist Abortion Ban as Women’s Reproductive Burden in Postsocialist Romanian Cinemadoi:10.1080/2040350X.2022.2087342Studies in Eastern European Cinema2022-06-15T08:47:49ZMirela DavidHistory/Women and Gender Studies, University of Saskatchewan, Saskatoon, SK, CanadaStudies in Eastern European Cinema15120362024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2022.2087342https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2087342?af=RBosnia and Herzegovina on Screen: Self-Orientalism in Jasmila Žbanić’s Film Quo Vadis, Aida?
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2121456?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 87-101<br/>. <br/>Volume 15, Issue 1, November 2024, Page 87-101<br/>. <br/>Bosnia and Herzegovina on Screen: Self-Orientalism in Jasmila Žbanić’s Film Quo Vadis, Aida?doi:10.1080/2040350X.2022.2121456Studies in Eastern European Cinema2022-09-12T05:57:06ZBruno LovricMiriam Hernándeza Department of Communication, De La Salle University, Manila, Philippinesb Dominguez Hills, Communications Department, California State University, Los Angeles, California, USAStudies in Eastern European Cinema151871012024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2022.2121456https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2121456?af=R‘I don’t care if it’s the Third World War’: Czech cinemagoers during the COVID-19 pandemic
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2144461?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 102-117<br/>. <br/>Volume 15, Issue 1, November 2024, Page 102-117<br/>. <br/>‘I don’t care if it’s the Third World War’: Czech cinemagoers during the COVID-19 pandemicdoi:10.1080/2040350X.2022.2144461Studies in Eastern European Cinema2022-11-12T12:52:31ZJan HanzlíkPetr SzczepanikKarel ČadaZuzana Chytkováa Department of Arts Management, Prague University of Economics and Business, Prague, Czechiab Department of Managerial Psychology and Sociology, Prague University of Economics and Business, Prague, Czechiac Department of Marketing, Prague University of Economics and Business, Prague, CzechiaJan Hanzlík is an Assistant Professor at the Department of Arts Management at Prague University of Economics and Business. He has published articles and book chapters on Czech film production, distribution, and exhibition, and on labour market and professional careers.Petr Szczepanik is an Associate Professor in Film Studies at Charles University, Prague. His current research focuses on East-Central European screen industries, production cultures, and public service media in the internet era.Karel Čada is an Assistant Professor at the Department of Managerial Psychology and Sociology at the Prague University of Economics and Business. He has published articles and book chapters on migration, sociology of consumption and economic sociology.Zuzana Chytková is an associate professor at the Department of Marketing at Prague University of Economics and Business. She focuses on consumer research and culture, social marketing and social impact assessments.Studies in Eastern European Cinema1511021172024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2022.2144461https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2144461?af=RAn Educational Corpus Based Exploration of Contemporary Hungarian Cinema: Lessons of the 2021 Hungarian University Film Awards
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2149043?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 118-135<br/>. <br/>Volume 15, Issue 1, November 2024, Page 118-135<br/>. <br/>An Educational Corpus Based Exploration of Contemporary Hungarian Cinema: Lessons of the 2021 Hungarian University Film Awardsdoi:10.1080/2040350X.2022.2149043Studies in Eastern European Cinema2022-11-28T01:32:05ZZsolt GyőriUniversity of Debrecen, Debrecen, HungaryZsolt Győri is an assistant professor at the University of Debrecen. He edited and co-edited volumes on British and Hungarian cinema. With Ewa Mazierska he co-edited two books on popular music in Eastern Europe. His more recent edited publications include Postsocialist Mobilities (CSP, 2021), and Representations of Europeanness in European Cinema (DUPress, 2021). He serves as an associate editor of the Hungarian Journal of English and American Studies and is a member of the steering committee of the Hungarian Society for the Study of Cinema.Studies in Eastern European Cinema1511181352024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2022.2149043https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2149043?af=RReading the Mermaid Sisters of Smoczyńska’s (2015) “The Lure” as More Than Shoreline Strangers: Toward a Feminist Solidarity with Nonhuman Others
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2282242?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 53-69<br/>. <br/>Volume 15, Issue 1, November 2024, Page 53-69<br/>. <br/>Reading the Mermaid Sisters of Smoczyńska’s (2015) “The Lure” as More Than Shoreline Strangers: Toward a Feminist Solidarity with Nonhuman Othersdoi:10.1080/2040350X.2023.2282242Studies in Eastern European Cinema2023-11-15T10:12:17ZMariliis Elizabeth HolzmannEstonian Academy of Arts, EstoniaStudies in Eastern European Cinema15153692024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2023.2282242https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2282242?af=RA Concise History of Slovak Cinema
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2233306?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 136-138<br/>. <br/>Volume 15, Issue 1, November 2024, Page 136-138<br/>. <br/>A Concise History of Slovak Cinemadoi:10.1080/2040350X.2023.2233306Studies in Eastern European Cinema2023-07-07T10:14:30ZEwa MazierskaStudies in Eastern European Cinema1511361382024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2023.2233306https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2233306?af=REditorial
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2296224?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 1-2<br/>. <br/>Volume 15, Issue 1, November 2024, Page 1-2<br/>. <br/>Editorialdoi:10.1080/2040350X.2024.2296224Studies in Eastern European Cinema2024-01-08T05:02:08ZLászló StrauszStudies in Eastern European Cinema151122024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2024.2296224https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2296224?af=RMladomir Puriša Đorđević (1924–2022)
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2283292?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 145-147<br/>. <br/>Volume 15, Issue 1, November 2024, Page 145-147<br/>. <br/>Mladomir Puriša Đorđević (1924–2022)doi:10.1080/2040350X.2023.2283292Studies in Eastern European Cinema2023-11-24T12:38:32ZMina Radović*Department of English and Creative Writing, Goldsmiths, University of London, London, UKStudies in Eastern European Cinema1511451472024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2023.2283292https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2283292?af=RA celebration of the first decade of the East European Film Bulletin
https://www.tandfonline.com/doi/full/10.1080/2040350X.2021.1953240?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 139-141<br/>. <br/>Volume 15, Issue 1, November 2024, Page 139-141<br/>. <br/>A celebration of the first decade of the East European Film Bulletindoi:10.1080/2040350X.2021.1953240Studies in Eastern European Cinema2021-07-29T01:22:26ZCerise HowardRMIT University, Melbourne, VIC, AustraliaStudies in Eastern European Cinema1511391412024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2021.1953240https://www.tandfonline.com/doi/full/10.1080/2040350X.2021.1953240?af=RCosmopolitanism, Immigration, State Collapse and the Oppression of Women A Report from the Karlovy Vary International Film Festival, June 30th - July 8th, 2023
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2283295?af=R
<a href="/toc/reec20/15/1">Volume 15, Issue 1</a>, November 2024, Page 142-144<br/>. <br/>Volume 15, Issue 1, November 2024, Page 142-144<br/>. <br/>Cosmopolitanism, Immigration, State Collapse and the Oppression of Women A Report from the Karlovy Vary International Film Festival, June 30th - July 8th, 2023doi:10.1080/2040350X.2023.2283295Studies in Eastern European Cinema2023-11-27T11:51:35ZJan CulikStudies in Eastern European Cinema1511421442024-01-02T08:00:00Z2024-01-02T08:00:00Z10.1080/2040350X.2023.2283295https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2283295?af=RNon-Aligned Spies: Secret Agents in the Yugoslav 1960s Cinema
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2053934?af=R
. <br/>. <br/>Non-Aligned Spies: Secret Agents in the Yugoslav 1960s Cinemadoi:10.1080/2040350X.2022.2053934Studies in Eastern European Cinema2022-03-23T01:57:16ZAdrian PelcDepartment of Slavonic Studies, University of Vienna, Vienna, AustriaStudies in Eastern European Cinema11610.1080/2040350X.2022.2053934https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2053934?af=RHBO’s the Sleepers: How Spy Genre and Transnational Co-Production Challenged the Memory of Communism in the Czech Republic
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2086094?af=R
. <br/>. <br/>HBO’s the Sleepers: How Spy Genre and Transnational Co-Production Challenged the Memory of Communism in the Czech Republicdoi:10.1080/2040350X.2022.2086094Studies in Eastern European Cinema2022-06-14T02:13:06ZIrena ŘehořováFaculty of Humanities, Charles University, Prague 8, Czech RepublicStudies in Eastern European Cinema11510.1080/2040350X.2022.2086094https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2086094?af=RSecret Agents, Informers, and Traitors: Agnieszka Holland’s Fever (Gorączka, 1980)
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2125221?af=R
. <br/>. <br/>Secret Agents, Informers, and Traitors: Agnieszka Holland’s Fever (Gorączka, 1980)doi:10.1080/2040350X.2022.2125221Studies in Eastern European Cinema2022-09-29T05:36:49ZElżbieta OstrowskaInstitute of Contemporary Culture, University of Łódź, Łódź, PolandElżbieta Ostrowska, in 2005-2021 Lecturer in the Department of English and Film Studies at the University of Alberta, Canada. Currently, she realizes the research project “Transnational Cinema of Agnieszka Holland” at the Department of Media and Audiovisual Culture, UŁ. Her publications include The Cinematic Bodies of Eastern Europe and Russia, co-edited with Ewa Mazierska and Matilda Mroz (Edinburgh University Press 2016), Women in Polish Cinema, co-authored with Ewa Mazierska (Berghahn Books, 2006), The Cinema of Roman Polanski: Dark Spaces of the World, co-edited with John Orr (Wallflower, 2006), The Cinema of Andrzej Wajda: The Art of Irony and Defiance, co-edited with John Orr (Wallflower, 2003), Gender in Film and the Media: East-West Dialogues, co-edited with Elzbieta Oleksy and Michael Stevenson (Peter Lang, 2000). Her articles have appeared in Slavic Review, Studies in European Cinema, and Holocaust and Genocide Studies.Studies in Eastern European Cinema11610.1080/2040350X.2022.2125221https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2125221?af=RFrom Agent to Subject: Panoptic and Post-Panoptic Surveillance in Contemporary Eastern European Television Series
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2137006?af=R
. <br/>. <br/>From Agent to Subject: Panoptic and Post-Panoptic Surveillance in Contemporary Eastern European Television Seriesdoi:10.1080/2040350X.2022.2137006Studies in Eastern European Cinema2022-10-25T02:17:45ZVeronika HermannDepartment of Media and Communication, Eötvös Loránd University, Budapest, HungaryStudies in Eastern European Cinema11410.1080/2040350X.2022.2137006https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2137006?af=RPoland under Martial Law in Netflix’s 1983 as a Critique of Contemporary Polish Socio-Politics: An Intertextual Analysis
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2170735?af=R
. <br/>. <br/>Poland under Martial Law in Netflix’s 1983 as a Critique of Contemporary Polish Socio-Politics: An Intertextual Analysisdoi:10.1080/2040350X.2023.2170735Studies in Eastern European Cinema2023-02-03T03:42:13ZKrzysztof E. BorowskiDepartment of German, Nordic, and Slavic+, University of Wisconsin–Madison, Madison, Wisconsin, USAStudies in Eastern European Cinema11510.1080/2040350X.2023.2170735https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2170735?af=REden and Eastern European Ecocinema
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2187526?af=R
. <br/>. <br/>Eden and Eastern European Ecocinemadoi:10.1080/2040350X.2023.2187526Studies in Eastern European Cinema2023-03-09T09:00:01ZGyörgy KalmárUniversity of Debrecen, Debrecen, HungaryGyörgy Kalmár is reader at the Department of British Studies of the Institute of English and American Studies, University of Debrecen (DE), Hungary. He graduated at DE in 1997, his majors were Hungarian and English. He worked as a post-graduate researcher and visiting scholar at the University of Oxford in Great Britain and at the University of Indiana in Bloomington, USA. He gained a PhD in philosophy (2003) and one in English (2007) at DE. His main teaching and research areas include literary and cultural theory, contemporary European cinema, gender studies, and British literature. He has published extensively in the above mentioned fields. He is the author of over fifty articles and five books, including Formations of Masculinity in Postcommunist Hungarian Cinema (Palgrave-Macmillan, 2017) and Post-Crisis European Cinema: White Men in Off-Modern Landscapes (Palgrave-Macmillan 2020). Email: shekar.balla@gmail.com.Studies in Eastern European Cinema12310.1080/2040350X.2023.2187526https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2187526?af=RPolish Spy Movies of the 1960s in Light of Transcripts from Meetings of Script Assessment and Film Approval Commissions
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2196756?af=R
. <br/>. <br/>Polish Spy Movies of the 1960s in Light of Transcripts from Meetings of Script Assessment and Film Approval Commissionsdoi:10.1080/2040350X.2023.2196756Studies in Eastern European Cinema2023-04-04T07:38:50ZPiotr ZwierzchowskiFaculty of Cultural Sciences, Kazimierz Wielki University, Bydgoszcz, PolandStudies in Eastern European Cinema11710.1080/2040350X.2023.2196756https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2196756?af=RPerformative Cinematic Acts of Form in the Baltic New Wave Documentary: The Old Man and the Land, Ruhnu, and Bridges of Time
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2217031?af=R
. <br/>. <br/>Performative Cinematic Acts of Form in the Baltic New Wave Documentary: The Old Man and the Land, Ruhnu, and Bridges of Timedoi:10.1080/2040350X.2023.2217031Studies in Eastern European Cinema2023-05-27T06:58:44ZTeisi LigiTeet Teinemaaa Scool of Humanities, Tallinn University, Tallinn, Estoniab Baltic Film, Media and Arts School, Tallinn University, Tallinn, EstoniaTeisi Ligi is a Cultural Studies PhD candidate at Tallinn University. Her research interests lie at the intersection of philosophy and documentary film studies. Her work is focused on Baltic poetic documentary, film-philosophy and performativity theories, exploring how poetic documentaries engage with philosophy through style and non-verbal means.Teet Teinemaa works as a lecturer in Film Studies at Tallinn University, Estonia. He received his PhD from the University of Warwick, UK. Teinemaa serves as the co-editor of Baltic Screen Media Review and his articles have appeared in journals such as Film International, Journal of Ageing Studies, and Studies of Art and Architecture. He is the head of an international MA programme Literature, Visual Culture, and Film Studies and the Estonian coordinator of the FilmEU project https://www.filmeu.eu/. His research interests are Eastern European cinemas with a particular focus on masculinities, ageing, and nostalgia.Studies in Eastern European Cinema11510.1080/2040350X.2023.2217031https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2217031?af=RFrom Ruptures to Continuities: Czechoslovak Cultural Heritage in Non-Fiction Cinema 1948-1956
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2220251?af=R
. <br/>. <br/>From Ruptures to Continuities: Czechoslovak Cultural Heritage in Non-Fiction Cinema 1948-1956doi:10.1080/2040350X.2023.2220251Studies in Eastern European Cinema2023-06-07T08:52:41ZAndrea Průchová HrůzováInstitute of Contemporary History, Academy of Sciences of the Czech Republic, Prague, Czech RepublicStudies in Eastern European Cinema11510.1080/2040350X.2023.2220251https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2220251?af=RThe Informant Falls Silent. World-Systems Analysis and Debates over the Socialist Past
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2302289?af=R
. <br/>. <br/>The Informant Falls Silent. World-Systems Analysis and Debates over the Socialist Pastdoi:10.1080/2040350X.2024.2302289Studies in Eastern European Cinema2024-01-16T08:59:56ZBence KrániczFilm Studies Department, ELTE Eötvös Loránd University, Budapest, HungaryBence Kránicz is an Assistant Professor of Film Studies at ELTE Eötvös Loránd University, Budapest, Hungary. He writes and lectures on contemporary genre films, fantastical genres, and studies in film criticism. His articles and essays have been published in academic journals and books in Hungarian and English.Studies in Eastern European Cinema11410.1080/2040350X.2024.2302289https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2302289?af=RSocial Media, Female Victimisation and Autonomy in Contemporary Hungarian and Romanian Cinema
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2302644?af=R
. <br/>. <br/>Social Media, Female Victimisation and Autonomy in Contemporary Hungarian and Romanian Cinemadoi:10.1080/2040350X.2024.2302644Studies in Eastern European Cinema2024-01-17T06:04:49ZHajnal Királya Sapientia Hungarian University of Transylvania, Cluj-Napoca, RomaniaHajnal Király is a film scholar teaching regularly at the University of Szeged (Hungary) and Sapientia Hungarian University of Transylvania (Romania). Besides contemporary Hungarian and Romanian cinema, her present research interests are cinematic intermediality and applied film theory. Her most important publications include the monograph The Cinema of Manoel de Oliveira. Modernity, Intermediality and the Uncanny, a book on adaptation theory (Könyv és film között – Between Book and Film, in Hungarian), the essay collections Postsocialist Mobilities. Studies in Eastern European Cinema (co-edited with Zsolt Győri) and Film a Határon (Film at the Border, in Hungarian), as well as several book chapters in volumes edited by Ágnes Pethő, Lars Elleström, Ewa Mazierska, Matilda Mroz, Elzbieta Ostrowska, Zsolt Győri, Louis Bayman, Natália Pinazza, among others.Studies in Eastern European Cinema12010.1080/2040350X.2024.2302644https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2302644?af=RRegained Screens: Contemporary Documentary Film Culture in Lithuania
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2308748?af=R
. <br/>. <br/>Regained Screens: Contemporary Documentary Film Culture in Lithuaniadoi:10.1080/2040350X.2024.2308748Studies in Eastern European Cinema2024-01-29T12:16:53ZMantė ValiūnaitėArt History and Theory, Lithuanian Academy of Music and Theatre, Vilnius, LithuaniaMantė Valiūnaitė is currently studying PhD at the Lithuanian Academy of Music and Theatre. Her research is focused on hybrid cinema. Mante was an Artistic Director at Vilnius International Film Festival ‘Kino pavasaris’. She has worked as a programmer at International Human Rights Documentary Film Festival ‘Inconvenient Films’. Mante curated various projects in NGO ‘Meno avilys’. In addition, she regularly writes to magazine ‘Kinas’.Studies in Eastern European Cinema11710.1080/2040350X.2024.2308748https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2308748?af=RUseful Bodies, Socialist Commodification and Everyday Culture: Promoting Albanian and Yugoslav Industrial Production Through Non-Fiction Films
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2321038?af=R
. <br/>. <br/>Useful Bodies, Socialist Commodification and Everyday Culture: Promoting Albanian and Yugoslav Industrial Production Through Non-Fiction Filmsdoi:10.1080/2040350X.2024.2321038Studies in Eastern European Cinema2024-02-27T02:01:03ZAna GrgićFabio Begoa Babeș-Bolyai University, Cluj-Napoca, Romaniab Independent ResearcherAna Grgić (PhD, University of St Andrews) is a film scholar and film industry practitioner. She is Associate Professor at Babeș-Bolyai University, Romania, and Associate Editor of Studies in World Cinema: A Critical Journal. She regularly participates in international academic conferences and was invited to deliver a number of film appreciation seminars and talks at international film festivals, film schools and symposiums in Europe and Asia. She is author of Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans (AUP, 2022) and co-editor of Contemporary Balkan Cinema: Transnational Exchanges and Global Circuits (EUP, 2020). Her research on Balkan cinemas, archives, and film history has been published in Early Popular Visual Culture, Studies in Eastern European Cinema, Apparatus and KinoKultura. While president of the Balkan Cultural Centre (Croatia), she co-organised a year-long film literacy travelling program, the 5C project (funded by Creative Europe Media programme, and the Croatian Audiovisual Centre), and as a Board member of the Albanian Cinema Project, she collaborated on film preservation workshops Archives in Motion in 2016.Fabio Bego (PhD) is a scholar, writer and film programmer focusing on Balkan histories and narratives. He is the co-founder and curator of the Albanian Film Festival that takes place annually in Rome since 2019. Through publications and film programs such as Kinostories (Brussels), his work looks into the connection between films and the postcolonial histories of the Balkans. He collaborates with the Institute of History of the Bulgarian Academy of Science and has published articles and reviews in specialized journals such as Nationalities Papers, Eastern European Politics, Societies and Cultures, Studies in Eastern European Cinema and Black Camera. He develops and shares his research on contemporary far right movements in the Balkans through platforms: Hope Not Hate, Modern Diplomacy, C-Rex and Balkan Insight. Fabio Bego has taught courses at the University of Roma Tre, at the University of Sofia “St. Kliment Ohridski” and at the Institute of History, BAN.Studies in Eastern European Cinema12010.1080/2040350X.2024.2321038https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2321038?af=RStolen Transformation, Conspiracy Theories and Female Detectives in Contemporary East-Central European Films and Series
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2314886?af=R
. <br/>. <br/>Stolen Transformation, Conspiracy Theories and Female Detectives in Contemporary East-Central European Films and Seriesdoi:10.1080/2040350X.2024.2314886Studies in Eastern European Cinema2024-03-05T06:53:27ZBalázs VargaELTE Eötvös Loránd University, Budapest, HungaryBalázs Varga is an Associate Professor of Film Studies at ELTE, Eötvös Loránd University, Budapest, Hungary. He writes and lectures on modern and contemporary Hungarian cinema, contemporary European cinema, production studies, popular cinemas and documentaries. He is a founding editor of Metropolis, a scholarly journal on film theory and history based in Budapest. He has published several articles and essays in English, Italian, Polish, Czech and Hungarian books and journals. His book in Hungarian Filmrendszerváltások. A magyar játékfilm intézményeinek átalakulása 1990–2010 [Film regime changes. Transformations in Hungarian Film Industry 1990–2010] is brought out by L’Harmattan Publishers, Budapest. His current project focuses on popular Hungarian and East European screen cultures during and after socialism.Studies in Eastern European Cinema11410.1080/2040350X.2024.2314886https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2314886?af=RThe Useful Cinema of State Secrecy. On Some Socialist Romanian Spy Films
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2324642?af=R
. <br/>. <br/>The Useful Cinema of State Secrecy. On Some Socialist Romanian Spy Filmsdoi:10.1080/2040350X.2024.2324642Studies in Eastern European Cinema2024-03-05T07:07:26ZChristian Ferencz-FlatzUniversity of Bucharest/National University for Theatre and Film Bucharest, București, RomaniaChristian Ferencz-Flatz is a philosopher and media scholar. He currently works as a senior researcher at the University of Bucharest and as a lecturer at the National University of Theatre and Film. He was the PI of the research projects “Structures of Bodily Interaction. Phenomenological Contributions to Gesture” (PCE 2020), “Continental Philosophy as a Rigorous Science. Elements of Empirical Research in Early Phenomenology and Critical Theory” (TE 2017) and „Habitus, Memory, Sediment: Facets of a Phenomenological Approach to Tradition” (TE 2010), funded by the Romanian Science Foundation, as well as Senior Researcher in other philosophical and film-scholarly projects. He was a Senior Research Fellow of the Alexander von Humboldt Foundation at the University of Cologne. He published extensively in philosophical and film-scholarly journals. Together with Radu Jude, he co-authored the experimental film Eight Postcards from Utopia (in post-production). His latest monograph: Critical Theory and Phenomenology. Polemics, Appropriations, Perspectives. Dordrecht: Springer, 2023.Studies in Eastern European Cinema11410.1080/2040350X.2024.2324642https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2324642?af=RAgents of Socialist Realism
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2333189?af=R
. <br/>. <br/>Agents of Socialist Realismdoi:10.1080/2040350X.2024.2333189Studies in Eastern European Cinema2024-03-22T01:50:49ZLászló StrauszDepartment of Film Studies, Eötvös Loránd University, Budapest, HungaryLászló Strausz is an associate professor in Film Studies at Eötvös Loránd University in Budapest. His work focuses on contemporary East-Central European screen media, cultural memory, and the politics of style. Since the publication of his monograph Hesitant Histories on the Romanian Screen, he has been working with state-produced educational films made during the state socialist decades.Studies in Eastern European Cinema11910.1080/2040350X.2024.2333189https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2333189?af=R‘Dreary and sarcastic images under the Marshal’s Baton.’ The Yugoslav 1960s Cinema, the Canon and the International Gaze: from subversion to Balkanism and popular-cultural re-evaluation
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2329468?af=R
. <br/>. <br/>‘Dreary and sarcastic images under the Marshal’s Baton.’ The Yugoslav 1960s Cinema, the Canon and the International Gaze: from subversion to Balkanism and popular-cultural re-evaluationdoi:10.1080/2040350X.2024.2329468Studies in Eastern European Cinema2024-03-27T12:58:15ZAdrian PelcDepartment of Slavonic Studies, University of Vienna, Vienna, AustriaAdrian Pelc holds a master’s degree in comparative literature (University of Zagreb), and a doctoral degree in Slavic Studies (University of Vienna). From 2020 to 2023, he was employed as an assistant at the University of Vienna’s Department of Slavonic Studies where he holds a postdoc. position since March 2024.Studies in Eastern European Cinema11710.1080/2040350X.2024.2329468https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2329468?af=RRepresentations of World War II in Lithuanian Cinema in the 2000s: Between National and European Narratives
https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2030558?af=R
. <br/>. <br/>Representations of World War II in Lithuanian Cinema in the 2000s: Between National and European Narrativesdoi:10.1080/2040350X.2022.2030558Studies in Eastern European Cinema2022-01-25T11:32:36ZGabrielė NorkūnaitėInstitute of International Relations and Political Science, Vilnius University, Vilnius, LithuaniaStudies in Eastern European Cinema12010.1080/2040350X.2022.2030558https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2030558?af=RA non-philosophy of non-cinema
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2279463?af=R
. <br/>. <br/>A non-philosophy of non-cinemadoi:10.1080/2040350X.2023.2279463Studies in Eastern European Cinema2023-11-10T10:30:10ZChristian Ferencz-FlatzNational University for Theatre and Film, Bucharest, RomaniaStudies in Eastern European Cinema1310.1080/2040350X.2023.2279463https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2279463?af=REast German Cinema: Collaboration and Continuity Cinema of Collaboration: DEFA Coproductions and International Exchange in Cold War Europe
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2302290?af=R
. <br/>. <br/>East German Cinema: Collaboration and Continuity Cinema of Collaboration: DEFA Coproductions and International Exchange in Cold War Europedoi:10.1080/2040350X.2024.2302290Studies in Eastern European Cinema2024-01-18T07:07:15ZNick HodginSchool of Modern Languages, Cardiff University, Cardiff, UKStudies in Eastern European Cinema1410.1080/2040350X.2024.2302290https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2302290?af=RAlbanian Cinema Through the Fall of Communism: Silver Screens and Red Flags
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2324641?af=R
. <br/>. <br/>Albanian Cinema Through the Fall of Communism: Silver Screens and Red Flagsdoi:10.1080/2040350X.2024.2324641Studies in Eastern European Cinema2024-03-05T06:55:26ZFabio BegoIndependent ResearcherStudies in Eastern European Cinema1310.1080/2040350X.2024.2324641https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2324641?af=RAuteur Studies of the European Periphery
https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2332058?af=R
. <br/>. <br/>Auteur Studies of the European Peripherydoi:10.1080/2040350X.2024.2332058Studies in Eastern European Cinema2024-03-21T09:33:16ZConstantin ParvulescuStudies in Eastern European Cinema1410.1080/2040350X.2024.2332058https://www.tandfonline.com/doi/full/10.1080/2040350X.2024.2332058?af=RRevelatory Inebriation and Westward Projections: Bolek Polívka’s Father Figures in Mid-2000s Czech Cinema
https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2298537?af=R
. <br/>. <br/>Revelatory Inebriation and Westward Projections: Bolek Polívka’s Father Figures in Mid-2000s Czech Cinemadoi:10.1080/2040350X.2023.2298537Studies in Eastern European Cinema2024-01-02T02:03:11ZTanya SilvermanSlavic Languages and Literatures, University of Michigan, Ann Arbor, Michigan, USATanya Silverman is Ph.D. Candidate in Slavic Languages and Literatures at the University of Michigan. She focuses her research on Czech cinema and its interactions with literature.Studies in Eastern European Cinema11710.1080/2040350X.2023.2298537https://www.tandfonline.com/doi/full/10.1080/2040350X.2023.2298537?af=R