The Cinematic Bodies of Eastern Europe and Russia: Between Pain and Pleasure

✍ Scribed by Mazierska, Ewa(Editor);Mroz, Matilda(Editor);Ostrowska, Elzbieta(Editor)

• Publisher: Edinburgh University Press
• Year: 2016
• Tongue: English
• Leaves: 272
• Category: Library

✦ Synopsis

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. It draws on the history of the region, as well as Western and Eastern scholarship on the body, and focuses on three areas: the traumatised 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 Russiaalso 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.

✦ Table of Contents

The Cinematic Bodies of Eastern Europe and Russia......Page 2
Copyright......Page 3
Contents......Page 4
Figures......Page 6
Notes on the Contributors......Page 7
Introduction Shaping the Cinematic Bodies of Eastern Europe and Russia......Page 12
PART I Wounds and Traumas......Page 40
1 ‘What does Poland Want From Me?’ Male Hysteria in Andrzej Wajda’s War Trilogy......Page 42
2 Alcoholism and the Doctor in Béla Tarr’s Sátántangó......Page 64
3 Playing Dead: Pictorial Figurations of Melancholia in Contemporary Hungarian Cinema......Page 78
4 The Body Breached: Post-Soviet Masculinity on Screen......Page 100
PART II Transgressions and Pleasures......Page 122
5 Borowczyk as Pornographer......Page 124
6 Queering Masculinity in Yugoslav Socialist Realist Films......Page 143
7 Geographies of Carnality: Slippery Sexuality in Wiktor Grodecki’s Gay Hustler Trilogy......Page 157
8 A Mass Doubling of Heroes: Post-human Objects of Queer Desire in Vladimir Sorokin and Ilya Khrzhanovsky’s 4......Page 177
PART III Carnal Histories......Page 196
9 Phenomenological Approach to Czech Cinema The Touch of History: A Phenomenological Approach to 1960s Czech Cinema......Page 198
10 Corporeal Exploration in György Pálfi’s Taxidermia......Page 218
11 Aerial Bodies in Polish Cinema......Page 233
12 The ‘Chemistry’ of Art(ifice) and Life: Embodied Paintings in East European Cinema......Page 250
Index......Page 268