European Cinema in the Twenty-First Century

Deadline for abstracts: December 30, 2016 Twenty-first century quality European feature film has added social and political weight to its aesthetic project and has increasingly framed its questions in a European context. This phenomenon is especially visible among young European filmmakers. Quality cinematic production has emphasized the demand for an active understanding of European identity and for the defense of Project Europe's quest for democracy and cosmopolitanism. European cinema theaters, film festivals and quality television programming have more and more turned into sites of civic concern and cultural resistance. The consumption of these films has stimulated sensitivity to a variety of challenges that face the continent— including the hegemony of economic neoliberalism and the disintegration the European Union as a structure of transnational governance. This Special Issue invites contributors to reflect on how recent quality cinema aims to address a variety of European challenges such as: 1. the responsibilities of European citizenship in the twenty-first century globalized world 2. the reassertion of Europe as a transformative political project that can react to new forms of human disenfranchisement and exploitation 3. particular issues that face the unity, security, well-being, and happiness of all Europeans, such as: ○ containing the rise of present nationalist populism ○ evening out economic discrepancies ○ democratic access to education and information ○ fighting the marketization of social life ○ inspiring cosmopolitan self-perception ○ presenting a comprehensive picture of global migration in the postcolonial context ○ high-level corruption ○ understanding the causes of terrorism ○ participating in offshore and proxy wars ○ raising awareness of ecological catastrophe ○ dismantling gender inequality

Global Media and Communication, 2012

Historical Journal of Film, Radio and Television, 2015

Academic and populist attempts at defining European cinema encounter such similar problems to political economists and politicians when delineating the extent and remit of the European Union that the application of social, economic and political theory to European film studies might be worth a go. Basing itself upon a suggestive correlation between the European Union as a community of sentiment and the region coding of its DVDs, this article assesses the impact of new screen technologies and the rebranding of the European Union on European film-makers and audiences. Building on links with recent events in Europe and the USA and the dislocation and disempowerment of protagonists in recent European and American cinema, this article develops an idea of the pan-European stratification of persons based on economic criteria and access to technology that has consequences for the future of European film.

Transit, 2012

Transit, 2012

As transnational mobility and migration are reconfiguring Europe, their echoes and reverberations in cinema are attracting more and more academic attention. Scholars are seeking ways to rethink the classical conception of European cinema as a set of national cinemas. Daniela Berghahn and Claudia Sternberg’s recent volume, which features the contributions of a large group of film scholars, brings together many such efforts.

Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn     (paperback) isbn     (hardcover) nur 

Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu

European countries that has made them invisible or critically neglected for a long time. This approach, however, seems to foreclose too quickly the possibility of a European cinema not necessarily defined by a framework of 6 Ldhikuva .4/1998

Palgrave Macmillan UK eBooks, 2015

European Film and Media Studies is a series dedicated to historical and contemporary studies of film and media in a European context and to the study of the role of film and media in European societies and cultures. Books in the series deal with media content and media genres, with national and transnational aspects of film and media policy, with the sociology of media as institutions and with the impact of film and media on everyday life, culture and society. In an era of increased European integration and globalization there is a need to move away from the single nation study focus and the single discipline study of Europe. The series accordingly takes a comparative, European perspective based in interdisciplinary research that moves beyond a traditional nation state perspective.