Split Screen: Belgian Cinema and Cultural Identity

Copertina anteriore
State University of New York Press, 19 ott 2000 - 267 pagine
In presenting the first English language study of Belgian cinema, Split Screen explores the fascinating history of a cinema largely determined by linguistic division and beset by problems of cultural identity. This "split screen" characterizes the Belgian cinema, which has not received the critical praise that it deserves, despite the recent international successes of films like Toto the Hero, and the achievements of individual directors such as Henri Storck, André Delvaux, and Chantal Akerman. In surveying the evolution of Belgian cinema from its beginnings to the present day, Philip Mosley locates all the major feature films, describes the crucial intervention of the state in film production, and reveals undervalued Belgian traditions in documentary, in animation, in short films, and in a colonial cinema created partly by missionaries in the former Belgian Congo. Due to the political and economic transformations affecting Europe, the reforms of the Belgian state, and the increasing globalization of world media industries, Belgian cinema can now inscribe itself within new national and international contexts.
 

Sommario

CHAPTER TWO
27
CHAPTER THREE
45
CHAPTER FOUR
67
CHAPTER FIVE
97
CHAPTER SIX
135
CHAPTER SEVEN
199
Works Cited
229
Index
239
Copyright

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Informazioni sull'autore (2000)

Philip Mosley is Associate Professor of English, Communications, and Comparative Literature at Pennsylvania State University–Worthington Scranton.

Informazioni bibliografiche