Galt - The New European Cinema: Redrawing the Map

THE NEW EUROPEAN CINEMA

Film and Culture

FILM AND CULTURE

A SERIES OF COLUMBIA UNIVERSITY PRESS

EDITED BY JOHN BELTON

What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic

Henry Jenkins

Showstoppers: Busby Berkeley and the Tradition of Spectacle

Martin Rubin

Projections of War: Hollywood, American Culture, and World War II

Thomas Doherty

Laughing Screaming: Modern Hollywood Horror and Comedy

William Paul

Laughing Hysterically: American Screen Comedy of the 1950s

Ed Sikov

Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema

Rey Chow

The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman

Susan M. White

Black Women as Cultural Readers

Jacqueline Bobo

Picturing Japaneseness: Monumental Style, National Identity, Japanese Film

Darrell William Davis

Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema

Rhona J. Berenstein

This Mad Masquerade: Stardom and Masculinity in the Jazz Age

Gaylyn Studlar

Sexual Politics and Narrative Film: Hollywood and Beyond

Robin Wood

The Sounds of Commerce: Marketing Popular Film Music

Jeff Smith

Orson Welles, Shakespeare, and Popular Culture

Michael Anderegg

Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 19301934

Thomas Doherty

Sound Technology and the American Cinema: Perception, Representation, Modernity

James Lastra

Melodrama and Modernity: Early Sensational Cinema and Its Contexts

Ben Singer

Wondrous Difference: Cinema, Anthropology, and Turn-of-the-Century Visual Culture

Alison Griffiths

Hearst Over Hollywood: Power, Passion, and Propaganda in the Movies

Louis Pizzitola

Masculine Interests: Homoerotics in Hollywood Film

Robert Lang

Special Effects: Still in Search of Wonder

Michele Pierson

Designing Women: Cinema, Art Deco, and the Female Form

Lucy Fischer

Cold War, Cool Medium: Television, McCarthyism, and American Culture

Thomas Doherty

Katharine Hepburn: Star as Feminist

Andrew Britton

Silent Film Sound

Rick Altman

Home in Hollywood: The Imaginary Geography of Hollywood

Elisabeth Bronfen

Hollywood and the Culture Elite: How the Movies Became American

Peter Decherney

Taiwan Film Directors: A Treasure Island

Emilie Yueh-yu Yeh and Darrell

William Davis

Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film

Adam Lowenstein

China on Screen: Cinema and Nation

Chris Berry and Mary Farquhar

THE NEW

EUROPEAN

CINEMA

Redrawing the Map

Rosalind Galt

Columbia University Press
New York

Columbia University Press wishes to express its appreciation for assistance given by the University of Iowa for the publication of this book.

Columbia University Press
Publishers Since 1893

New York Chichester, West Sussex

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Copyright 2006 Columbia University Press

All rights reserved

E-ISBN 978-0-231-51032-5

Library of Congress Cataloging-in-Publication Data
Galt, Rosalind.

The new European cinema : redrawing the map / Rosalind Galt.

p. cm.(film and culture)

Includes bibliographical references and index.

ISBN 0-231-13716-8 (cloth : alk. paper)

ISBN 0-231-13717-6 (pbk. : alk. paper)

ISBN 0-231-51032-2 (electronic)

1. Motion picturesEurope. I. Title. II. Series.

PN1993.5.E8G35 2006

791.43094dc22

2005033601

A Columbia University Press E-book

CUP would be pleased to hear about your reading experience with this e-book at .

Acknowledgment is gratefully made for permission to reproduce stills from Underground to CIBY DA/PANDORA/1995.

Contents

Many people have helped shape this book. Mary Ann Doane, Philip Rosen, and John Caughie were invaluable readers during the early stages of the project, while Corey Creekmur and Sasha Waters Freyer offered detailed and insightful commentary on later versions. Nicole Rizzuto read drafts tirelessly and offered both editorial insight and intellectual inspiration. With Karl Schoonover, Kerry Herman, Rebecca Wingfield, Chris Cagle, and Kirsten Ostherr, I debated film theory, feminism, and art history. This project developed in dialogue with their work, and I hope it bears some traces of their brilliance. Friends, teachers, and colleagues who have contributed ideas, criticism, and support include Neil Lazarus, Ellen Rooney, Massimo Riva, Rda Bensmaa, Loren Noveck, Paul Haacke, Mette Hjort, Angela dalle Vacche, Dudley Andrew, Steve Ungar, Rick Altman, Louis Schwartz, Kathleen Newman, Lisa Collins, Jessica Levin, and Evelyn So. Claudia Pmmer helped with research and formatting, and Anastasia Saverino worked on the index. from the anonymous readers at Cinema Journal who reviewed a shorter form of the argument. Thanks also go to the readers for Columbia University Press, who offered productive suggestions for revision. Last but by no means least, this project has gained tremendously from discussions with my students over the years.

In tracking down film prints, Richard Manning at Brown University was a stellar resource and a gonzo movie god. Also helpful were the staff at the Museum of Modern Art (MoMA) Film Study Center, the New York Public Library, the Donnell Library, and the British Film Institute. Staff at the University of Iowas library provided technical and research assistance. Some films proved difficult to locate, and here I received help from Ellen Elias-Bursac, Radmila Gorup, and Vitaly Chernetsky. Misha Nedeljkovi kindly sent me tapes of some rare Yugoslav films and in addition offered readings, advice, and historical perspective. Thanks also to filmmakers Bettina Ellerkamp and Jrg Heitman, who graciously shared their work with me. Thanks also go to all at Columbia University Press, especially Irene Pavitt, Cynthia Garver, and Juree Sondker.

Parts of were published as Back Projection: Visualizing Past and Present Europe in Lars von Triers Zentropa, Cinema Journal 45, no. 2 (2005).

Finally, I want to thank those closest to me for their love and support: Adrian Goycoolea, who, in addition to sharing my life, spent countless hours on this project preparing frame stills; my mother, who was my first role model as a feminist and cultural critic; and my late father. My father instilled in me a love of Italian landscape and culture, with which came a foundational narrative of leftist loss. He served in Italy in World War II and returned with our family year after year as a tourist and student of Italian. I could not have formulated my reading of the Italian political landscape without his memory.

In the early 1990s, Europe became, as if it had not been so before, a question of space. The fall of the Berlin Wall in 1989, the breakup of the Soviet Union, the break-down of Yugoslavia, and the unification of Germany produced radical upheavals in every aspect of European life, but most urgently, they made a collective demand on an idea of Europe as a psychic, cultural, or geopolitical location. For the first time since the end of World War II, the borders of Europe were disconcertingly unstable. Through the 1990s, this traumatic overturning of spatial categories was augmented with a more gradual, although by no means painless, redefinition: the expansion of the European Union to include members and potential members as far apart as Finland, Bulgaria, and Turkey. It is clear that as the physical and political territory of Europe altered in the postCold War years, so, too, did its cultural imaginary. What is less clear is how we can read these changes cinematically: how European cinema represented revisions of European space narratively, formally, and stylistically, and, indeed, how the terrain of European cinema itself was acted on by the forces that were reshaping the continent.