European cinema not only occupies a dominant place in film history, it is also a field that has been raising more interest with the expanding work on the transnational. Euro-Visions asks what idea of Europe emerges, is represented and constructed by contemporary European film.
Adopting a broad and wide-ranging approach, Euro-Visions mixes political sources, historical documents and filmic texts and offers an integration of policy and economic contexts with textual analysis. Mariana Liz examines costume dramas, biopics and war films, mainstream co-productions and tales of `Fortress Europe' by renowned auteurs, showing how films from different European nations depict and contribute to the formation of the idea of Europe. Case studies include Girl with a Pearl Earring, La Vie en Rose, Black Book, Good Bye Lenin!, Match Point and The Silence of Lorna.
Mariana Liz completed a PhD at King's College London in 2012. She has taught at King's and Queen Mary, University of London, and at the University of Leeds, UK (2013-2016). She is the author of Euro-Visions (2016) and co-editor of The Europeanness of European Cinema (2015). Her edited collection Global Portuguese Cinema is in production. She has published on contemporary European cinema and Portuguese film in Studies in European Cinema and the Journal of Romance Studies, among others. She is currently a post-doctoral fellow at the Institute of Social Sciences, University of Lisbon, in Portugal, where she conducts research on European cities, cinema and branding.
Introduction Chapter 1: The Idea of Europe Chapter 2: Europe: History of an Idea Chapter 3: The EU's definition of Europe The European Film Industry and the MEDIA Programme Chapter 4: The European Film Industry Chapter 5: The MEDIA Programme History and Memory in Contemporary European Cinema Chapter 6: Celebrating Europe's Heritage Chapter 7: Remembering the War Chapter 8: Revolution, Politics and Social Change in Post-war Europe This is Europe Chapter 9: European Cities and Filmic Representations of Urban Space Chapter 10: Urban Dystopias and `State-of-the-Nation' Films Conclusion: The Idea of Europe in Contemporary Cinema