Introduction
Chapter 1: In the middle of things: city, cinema and the public sphere
1.1. Cinema’s potential for creating a public sphere
1.2. Difference and the unfamiliar
1.3. The subject in process: rituals, revolt and storytelling
Chapter 2: Movements and places: modern order and the cinema-squats of the 1960s
2.1. Cinema and the modern attempt to eliminate ambivalence
2.2. To become cinema-makers: expanded and other cinemas, the Crni Talas and OHO
2.3. Transnationality: interaction and struggle vis-à-vis official strategies
2.4. Difference, privatized ambivalence and the (informal) public sphere
Chapter 3: Films and urban interventions: the rediscovery of difference since the 1960s
3.1. The migrant guest worker: Fassbinder’s interventions in the projection spaces of the imagination
3.2. The figuration of difference as aesthetic, sexual and ethnic difference in Yugoslav cinema since the 1960s
Chapter 4: Follow-up initiatives
4.1. Violence and humour: cinema activism in times of war
4.2. Enthusiasm and critique: cinema between flash mob, new urban transition spaces and art
Anna Schober is Mercator visiting professor at Justus Liebig University Giessen. She received her Ph.D. as well as her postdoctoral habilitation in Contemporary History at the University of Vienna and was guest researcher at several international institutions such as the University of Essex, the J.W. Goethe University in Frankfurt. She has published widely on the aesthetic and political dimensions of the public sphere, popular culture, new social movements and gender studies.
'Schober also impressively captures the tone and spirit of 1960s
youth culture, its irreverence, its politics and its
playfulness.'
*The Slavonic and East European Review, Dragana Obradović*
'This volume proposes a convincing, refreshing, and inspiring
interpretation of almost forty years of film activism in central
and south-eastern Europe. This book deserves to be widely read and
discussed.'
*Kult Online, Fernando Ramos Arenas*
'Schober’s thorough study represents a compelling stepping-stone to
further multidisciplinary work on cinema and urban
public'
*Transnational Cinemas, Martin Zebracki*
'The Cinema Makers is, undoubtedly, an interesting work to
understand arthouse cinema in terms of production and consumption
in fortress Europe and, more importantly, on its mostly unexplored
margins. '
*Afterimage: The Journal of Media Arts and Cultural Criticism, Ana
Bento-Ribeiro*
'[T]his is an authoritative yet accessible and stimulating study of
one of cinema's headiest moments, particularly felt in Schober's
ability to covey the character and vitality of 1960s European
culture across diverse political environments. '
*Ann Murray, Journal of Contemporary European Studies*
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