History of European Cinema

The goal of this book was to introduce reflection on historical phenomena that require perspectives transgressing national paradigm in studying film history (it is co-productions, cinemas of communist block and films produced under a significant “cold war” pressure and – last but not least – issues related to transnational distribution and reception).

Introduction 7 Andrzej Dębski, Film screenings in the “Polish territories” in 1896 and their international context 9 Urszula Biel, The Place of Polish Films on German market between 1920s and 1930s, with special emphasis on Borderlands 23 Tomasz Kłys, The Third Reich’s Pean of Praise for the November Uprising’s Glory: Karl Hartl’s Ritt in Die Freiheit (1936) 37 Magdalena Saryusz-Wolska, Cinema programs as a source for research on historical film audiences. Berlin 1945–1949 51 Tomasz Rachwald, War film as a political problem in Polish press 1945–1949 69 Piotr Zwierzchowski, The reception of Hungarian cinema in Polish film criticism 1945–1989 79 Ewa Ciszewska, Socialist film co-productions. The case of the Polish-Czechoslovak film co-production What Will My Wife Say to This? (1958) by Jaroslav Mach 91 Mikołaj Góralik, Sci-fEAST: Science fiction genre in Polish and Czechoslovakian cinema 107 Magdalena Wąsowicz, István, a király: Rock-Opera As an Expression of Hungarian National Identity 119 Index 127