Alphaville: Journal of Film and Screen Media. Issue 01: European Cinema: Transnational, Transcultural, Transmedial

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https://hdl.handle.net/10468/642
The inaugural issue of Alphaville stems thematically from an international Film Studies conference on European Cinema (UCC, May 2010), which addressed the permeability of European spaces from a number of diverse perspectives, showcasing the geopolitical, sociocultural, aesthetic and productive "movement" that was historically and still is at the heart of European cinema. Edited by Laura Rascaroli, University College Cork.

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    Back to the future: the European film studies agenda today
    (Film and Screen Media, University College Cork, 2011) Rascaroli, Laura
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    The Society of Cinema and Media Studies Annual Conference 2011: Media Citizenship, New Orleans, USA, March 10-13
    (Film and Screen Media, University College Cork, 2011) Mellamphy, Deborah
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    Transnationality and transitionality: Sandra Kogut’s The Hungarian Passport (2001)
    (Film and Screen Media, University College Cork, 2011) Pinazza, Natália
    This article examines Sandra Kogut’s The Hungarian Passport (2001) in the light of recent theoretical debates on diasporic and postcolonial filmmaking. It focuses on how Kogut’s displacement—both as the granddaughter of Jewish refugees and a foreigner in France—permeates the structure of the documentary in terms of narrative, visual style, subject matter and theme. In the process, the article addresses questions of transnational cinema in a postcolonial and diasporic context by exploring how the film’s transnational representations interrogate the validity of both national cinema and cultural identity as fixed concepts in contemporary Europe.
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    The Corona Fastnet Short Film Festival, Schull, County Cork, 26-29 May 2011
    (Film and Screen Media, University College Cork, 2011) Monahan, Barry
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    Lindsay Anderson: Britishness and national cinemas
    (Film and Screen Media, University College Cork, 2011) Gourdin-Sangouard, Isabelle
    This article will explore three key stages in Lindsay Anderson’s career that illustrate the complex relationship between the director’s negotiation of his own national background and the imposition of a national identity in the critical reception of his work. First, I will look briefly at Anderson’s early directorial career as a documentary filmmaker: by using references to the Free Cinema movement and Thursday’s Children (1953), I will show that, in both instances, the question of artistic impact and critical reception took on a transnational dimension. I will then discuss the production of a documentary short in Poland, which Anderson filmed at the request of the Documentary Studio in Warsaw in 1967, and which constitutes the director’s first experience of working in a foreign film industry. Finally, I will discuss Britannia Hospital (1982), the last feature film that Anderson made in Britain. Throughout the paper, I will also use material from the Lindsay Anderson Archive held at Stirling University.