Polish Cinema in a Transnational Context

Description

Despite the opening up of Poland to global influences after the fall of the Berlin Wall in 1989 and the rise of transnational approaches to the study of film, approaches to Polish cinema have remained largely within a resolutely national framework. 'Polish Cinema in a Transnational Context' addresses this situation by examining the international reception of Polish films in Europe and North America, Polish international coproductions and the presence of Polish performers in foreign films, and the works of subversive (r)migr(r) auteurs Frontcover Contents Acknowledgments Introduction: Polish Cinema beyond Polish Borders Part One: The International Reception of Polish Films 1 West of the East: Polish and Eastern European Film in the United Kingdom 2 The Shifting British Reception of Wajda’s Work from Man of Marble to Katyń 3 Affluent Viewers as Global Provincials: The American Reception of Polish Cinema 4 Polish Films at the Venice and Cannes Film Festivals: The 1940s, 1950s, and 1960s 5 How Polish Is Polish Silver City and the National Identity of Documentary Film Part Two: Polish International Coproductions and Presence in Foreign Films 6 Postcolonial Heterotopias: A Paracinematic Reading of Marek Piestrak’s Estonian Coproductions 7 Poland-Russia: Coproductions, Collaborations, Exchanges 8 Train to Hollywood: Polish Actresses in Foreign Films 9 Polish Performance in French Space: Jerzy Radziwiłowicz as a Transnational Actor 10 Polish Actor-Directors Playing Russians: Skolimowski and Stuhr Part Three: Émigré and Subversive Polish Directors 11 An Island Near the Left Bank: Walerian Borowczyk as a French Left Bank Filmmaker 12 Beyond Polish Moral Realism: The Subversive Cinema of Andrzej Żuławski 13 Polanski and Skolimowski in Swinging London 14 The Elusive Trap of Freedom? Krzysztof Zanussi’s International Coproductions 15 Agnieszka Holland’s Transnational Nomadism Selected Bibliography Contributors Index Backcover