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Zusatztext The study of popular music in Eastern Europe is a relatively new area. In this wide ranging and informative collection! Ewa Mazierska and Zsolt Gyori have assembled a range of contributors who not only provide new insights into the role of musicals in East European cinemas but also examine the relatively uncharted areas of disco! music video and rap music. Examining the situation under both state socialism and capitalism! they provide original historical accounts together with new theoretical applications and insights. The book provides essential reading and an important expansion in the field of popular music studies. Informationen zum Autor Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire, UK. She has published over twenty monographs and edited collections on film and popular music, including Contemporary Cinema and Neoliberal Ideology (co-edited with Lars Kristensen, 2018), Sounds Northern: Popular Music, Culture and Place in England’s North (2018), Popular Music in Eastern Europe: Breaking the Cold War Paradigm (2016) and Relocating Popular Music (co-edited with Georgina Gregory, 2015). Her recent monograph on popular electronic music in Vienna is forthcoming in 2019. Mazierska's work has been translated into over twenty languages. She is also principal editor of Studies in Eastern European Cinema . Zsolt Gyori is an Assistant Professor in the Department of British Studies at the University of Debrecen, Hungary. He has edited collections of essays in Hungarian on British cinema, on body, subjectivity, race and gender in post-communist Hungarian cinema and the connective structures of space, power and identity in Hungarian cinema. He is also the author of Films, Auteurs, Critical-Clinical Readings (2014). Zusammenfassung Popular Music and the Moving Image in Eastern Europe is the first collection to discuss the ways in which popular music has been used cinematically, from musicals to music videos to documentary film, in Eastern Europe from 1945 to the present day. It argues that during the period of state socialism, moving image was an important tool of promoting music in the respective countries and creating popular cinema. Yet despite this importance, filmmakers who specialized in musicals lacked the social prestige of leading 'auteurs' and received little critical attention. The resulting scholarly prejudice towards pop culture created a severe shortage of critical studies of the genre.With the fall of state socialism - and with it, the need for economically viable film and media industries - brought about an unprecedented upsurge of films utilizing popular music, and a greater recognition of popular cinema as a legitimate object of study. Popular Music and the Moving Image in Eastern Europe fills the gap and demonstrates why the popular music-cinema interface needs to be theorized with respect to the political, ideological, and social forces invested in popular culture. Inhaltsverzeichnis Table of Contents Introductions: Popular Music and the Moving Image in Eastern Europe Ewa Mazierska (University of Central Lancashire, UK) and Zsolt Gyori (University of Debrecen, Hungary) Chapter 1 1968 Leftist Utopianism in The Young Girls of Rochefort and Hot Summer Evan Torner (University of Cincinnati, USA) Chapter 2 Representing Modern Romania in the Musical of State Socialist Period Gabriela Filippi (I.L. Caragiale National University of Theatre and Film, Romania) Chapter 3 Worlds That Never Were: Contemporary Eastern European Musical Comedies and the Memory of Socialism Balázs Varga (Eötvös Loránd University, Hungary) Chapter 4 Pop Music, Nostalgia and Melancholia in Dollybirds and Liza, the Fox Fairy Hajnal Király (Insitute for Hungarian Literary and Cultural Studies, Eötvös Ló...
