* pb ‘European Cinema’ 10-06-2005 19:00 Pagina 1 FFIILLMM FFIILLMM In the face of renewed competition from Holly- wood since the early 1980s and the challenges posed to Europe’s national cinemas by the fall E of the Wall in 1989, independent filmmaking in U CCUULLTTUURREE R CCUULLTTUURREE Europe has begun to re-invent itself. European O Cinema: Face to Face with Hollywood re-asses- P E ses the different debates and presents a broader IN TRANSITION A IN TRANSITION framework for understanding the forces at work N since the 1960s. These include the interface of C I “world cinema” and the rise of Asian cinemas, N E the importance of the international film festival M circuit, the role of television, as well as the A changing aesthetics of auteur cinema. New audiences have different allegiances, and T H new technologies enable networks to re- O shape identities, but European cinema still M A has an important function in setting criti- S cal and creative agendas, even as its eco- E nomic and institutional bases are in flux. L S A Thomas Elsaesser is professor of Media E S and Culture and Director of Research, Film S E and Television Studies at the University of R Amsterdam. Among his most recent publi- cations are Harun Farocki – Working on the Sight Lines (2004), and Terrorisme, Mythes et Representations(2005). EEUURROOPPEEAANN CCIINNEEMMAA FFAACCEE TTOO FFAACCEE WWIITTHH ISBN90-5356-594-9 HHOOLLLLYYWWOOOODD 9 789053 565940 TTHHOOMMAASS EELLSSAAEESSSSEERR AAmmsstteerrddaamm UUnniivveerrssiittyy PPrreessss AAmmsstteerrddaamm UUnniivveerrssiittyy PPrreessss WWW.AUP.NL EuropeanCinema European Cinema Faceto Facewith Hollywood Thomas Elsaesser AmsterdamUniversityPress Coverillustration:NicoleKidmaninDogville Coverdesign:KokKorpershoek,Amsterdam Lay-out:japes,Amsterdam isbn(paperback) isbn(hardcover) nur ©AmsterdamUniversityPress,Amsterdam Allrightsreserved.Withoutlimitingtherightsundercopyrightreservedabove,nopart ofthisbookmaybereproduced,storedinorintroducedintoaretrievalsystem,ortrans- mitted,inanyformorbyanymeans(electronic,mechanical,photocopying,recordingor otherwise)withoutthewrittenpermissionofboththecopyrightownerandtheauthorof thebook. Table of Contents Preface 9 Introduction EuropeanCinema:ConditionsofImpossibility?[]  National Cinema: Re-Definitions and New Directions EuropeanCulture,NationalCinema,theAuteurandHollywood[]  ImpersoNations:NationalCinema,HistoricalImaginaries[]  FilmFestivalNetworks:theNewTopographiesofCinemain Europe[]  DoubleOccupancyandSmallAdjustments:Space,PlaceandPolicyinthe NewEuropeanCinemasincethes[]  Auteurs and Art Cinemas: Modernism and Self- Reference, Installation Art and Autobiography IngmarBergman–PersonandPersona:TheMountainofModern CinemaontheRoadtoMorocco[]  LateLosey:TimeLostandTimeFound[]  AroundPaintingandthe“EndofCinema”:AProposJacquesRivette’s LaBelleNoiseuse[]  SpellboundbyPeterGreenaway:IntheDark...andIntotheLight[]  TheBodyasPerceptualSurface:TheFilmsofJohanvanderKeuken[]  TelevisionandtheAuthor’sCinema:ZDF’sDasKleineFernsehspiel[]  TouchingBase:SomeGermanWomenDirectorsinthes[]  6 EuropeanCinema:FacetoFacewithHollywood Europe-Hollywood-Europe TwoDecadesinAnotherCountry:HollywoodandtheCinephiles[]  RaoulRuiz’sHypothèseduTableauVolé[]  ImagesforSale:The“New”BritishCinema[]  “IfYouWantaLife”:TheMarathonMan[]  BritishTelevisioninthesThroughTheLookingGlass[]  GermanCinemaFacetoFacewithHollywood:LookingintoaTwo-Way Mirror[]  Central Europe Looking West OfRatsandRevolution:DusanMakavejev’sTheSwitchboard Operator[]  DefiningDEFA’sHistoricalImaginary:TheFilmsofKonradWolf[]  UnderWesternEyes:WhatDoesŽižekWant?[]  OurBalkanistGaze:AboutMemory’sNoMan’sLand[]  Europe Haunted by History and Empire IsHistoryanOldMovie?[]  EdgarReitz’Heimat:Memory,HomeandHollywood[]  DiscourseandHistory:OneMan’sWar–AnInterviewwith EdgardoCozarinsky[]  RendezvouswiththeFrenchRevolution:EttoreScola’s ThatNightinVarennes[]  JosephLosey’sTheGo-Between[]  GamesofLoveandDeath:PeterGreenawayandOtherEnglishmen[]  Border-Crossings: Filmmaking without a Passport PeterWollen’sFriendship’sDeath[]  AndyEngel’sMelancholia[]  TableofContents OntheHighSeas:EdgardoCozarinsky’sDutchAdventure[]  ThirdCinema/WorldCinema:AnInterviewwith RuyGuerra[]  RuyGuerra’sErendira[]  Hyper-,Retro-orCounter-:EuropeanCinemaasThirdCinemaBetween HollywoodandArtCinema[]  Conclusion EuropeanCinemaasWorldCinema:ANewBeginning?[]  EuropeanCinema:ABriefBibliography ListofSourcesandPlacesofFirstPublication Index Preface The(West)Europeancinemahas,sincetheendofWorldWarII,haditsidentity firmly stamped by three features: its leading directors were recognized as au- teurs,itsstylesandthemesshapedanation’sself-image,anditsnewwavessig- nified political as well as aesthetic renewal. Ingmar Bergman, Jacques Rivette, JosephLosey,Peter Greenaway,neo-realism,thenouvellevague,NewGerman Cinema, the British renaissance – these have been some of the signposts of a cinemathatderivedlegitimacyfromadualculturallegacy:thatofthethcen- turynovelandofthethcenturymodernistavant-gardes.Bothpedigreeshave given Europe’s national cinemas a unique claim to autonomy, but they also drew boundaries between the work of the auteur-artists, representing the na- tion,highcultureandrealism,andthemakersofpopularcinema,representing commerce,mass-entertainmentandconsumption. These distinguishing features were also identity constructions. They helped to mask a continuing process of self-definition and self-differentiation across a half-acknowledged presence, namely of Hollywood, and an unacknowledged absence, namely of the cinemas of Socialist Europe. Since , such identity formations through difference, exclusion and otherness, are no longer securely inplace.Cinematodaycontributestoculturalidentitiesthataremoreinclusive andprocessual,moremulti-culturalandmulti-ethnic,moredialogicalandinter- active,abletoembracethe‘newEurope’,thepopularstar-andgenrecinema,as well as the diaspora cinemas within Europe itself. It has meant re-thinking as well as un-thinking European cinema. Has it made cinema in Europe an anx- iousart,seekingsalvationinthepreservationofthe“nationalheritage”?Many times before, European cinema has shown itself capable of re-invention. This time, the challenge for films, filmmakers and critics is to be European enough topreserveEurope’sculturaldiversityandhistoricaldepth,aswellasoutward- lookingenoughtobetrans-nationalandpartofworldcinema. The essays brought together in European Cinema: Face to Face with Hollywood present a cross-section of my writings on these topics over a period of some thirty-fiveyears.Theyre-examinetheconflictingterminologiesthathavedomi- natedthediscussion,includingthenotionof“thenation”in“nationalcinema”, and the idea of the artist as creator of a unique vision, at the heart of the “au- teur-cinema”. They take a fresh look at the ideological agendas, touching on politically and formally oppositional practices and they thoroughly examine Europeancinema’srelationtoHollywood.