Titlebook: European Cinema in the Twenty-First Century; Discourses, Directio Ingrid Lewis,Laura Canning Textbook 2020 The Editor(s) (if applicable) an

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Deskription der Inanspruchnahme,e they are low-budget productions with culturally specific or controversial stories than only appeal to niche audiences. Nevertheless, drawing on industry data, focus group interviews and textual analysis, he demonstrates that some European films do successfully travel within Europe because they pos

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,Erratum to: Universität Breslau,hin a national setting, while operating simultaneously within a globalised industry. They situate the emergence of the twenty-first-century Irish film industry against the competing dynamics of free-market funding and implied ‘cultural value’ frameworks, and demonstrate how the dialectical relations

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https://doi.org/10.1007/978-3-322-85332-5t national identities and cultural contexts. The chapter first explores the genre debate around film noir, insisting on the importance of pragmatic aspects and dynamic variations. Drawing on film, psychoanalytic and feminist theories, Gutiérrez-Martínez and Pedro then examine noir and neo-noir in re

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978-3-030-33435-2The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl

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https://doi.org/10.1007/978-3-030-33436-9European Cinema; Aesthetics; Hollywood; Transnational; Contemporary Cinema; National Identity