Titlebook: European Cinema and Intertextuality; History, Memory and Ewa Mazierska Book 2011 Palgrave Macmillan, a division of Macmillan Publishers Li

伴隨而來(lái)

From Socialist Realism to Postmodernism: Polish Martial Law of 1981 in Polish and Foreign Films,geneous experience of collective labour, regarding it as a myth created by Western left-leaning artists and intellectuals, largely as a means to articulate and defend their own intellectual position. Instead, he proposes to avoid such generalisations by looking at communism and its memory as country

critique

Goodbye Lenin or Not: Cinematic Representations of the End of Communism,nt in the history of humanity had yet presented itself as ., thereby inaugurating the space that is now ours and that today is reaching its limits, the limits of the earth and the limits of the political’ (Derrida 1994: 38). Derrida thus points to two reasons why it is essential to discuss the end o

resilience

Nausea

Introduction: Is the Past a Foreign Country?,mbiguous and therefore their meanings divide contemporary historians. Explaining their meanings will also allow me to locate my book within a number of debates concerning the status of history and its relation to cinema.

Confound

,‘Our Hitler’: New Representations of Hitler in European Films,as one of the most mysterious historical personas. The details of his real life, the workings of his mind, as well as the significance of his personal views and actions for the course of the history of the twentieth century are the subject of controversies filling hundreds of books and articles.

無(wú)動(dòng)于衷

n?twentieth-century European history. This includes the Second World War, Armenian Genocide, anti-Semitic attacks in Poland, European terrorism of the 1970s, and the end of communism.978-1-349-36818-1978-0-230-31954-7

樂(lè)章

https://doi.org/10.1007/978-3-642-94376-8mbiguous and therefore their meanings divide contemporary historians. Explaining their meanings will also allow me to locate my book within a number of debates concerning the status of history and its relation to cinema.

opportune

Granular

transient-pain

Frankreich und die Einheit Deutschlandso terms with the memory of communism has been impossible without dealing with the memory of anti-communism and its various forms. What continues to be politically explosive is not how communism is to be remembered but how resistance and open struggle against communism are to be remembered’ (ibid.: 132).