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The study ventures into a topic that has been so far largely neglected in film studies: the 'gypsy' phantasm on the big screen. It reconstructs the history of 'gypsy' representations in film since the birth of the medium providing a systematic film-theoretical analysis of their aesthetic and social functions. Based on a corpus of over 150 works from European and US cinema, it is shown that 'gypsy'-themed feature films share the pattern of an 'ethno-racial' masquerade, irrespective of the place and time of their origin. The author thus expands the research, concentrated until now in the field of literature, with another art form, film, opening up new dimensions of (popular) cultural antigypsyism.

Film adaptations. --- Adaptations, Film --- Books, Filmed --- Filmed books --- Films from books --- Literature --- Motion picture adaptations --- Motion pictures --- Film adaptations --- Adaptations

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Since Prosper Mérimée and Georges Bizet (with his librettists Meilhac and Halévy) brought the figure of the Spanish Carmen to prominence in the nineteenth century an astonishing eighty or so film versions of the story have been made. This collection of essays gathers together a unique body of scholarly critique focused on that Carmen narrative in film. It covers the phenomenon from a number of aspects: cultural studies, gender studies, studies in race and representation, musicology, film history, and the history of performance. The essays take us from the days of silent film to twenty-first century hip-hop style, showing, through a variety of theoretical and historical perspectives that, despite social and cultural transformations—particularly in terms of gender, sexuality and race—remarkably little has changed in terms of basic human desires and anxieties, at least as they are represented in this body of films. The conception of Carmen’s independent sexuality as a source of danger both to men (and occasionally women) and to respectable society has been a constant. Nor has sexual and ethnic otherness lost its appeal. On the other hand, the corpus of Carmen films is more than a simple recycling of stereotypes and each engages newly with the social and cultural issues of their time.

791.43 --- 791.43 Filmkunst. Films. Cinema --- Filmkunst. Films. Cinema --- Film --- Carmen (Fictitious character) --- Film adaptations. --- Adaptations, Film --- Books, Filmed --- Filmed books --- Films from books --- Literature --- Motion picture adaptations --- Motion pictures --- Film adaptations --- Adaptations

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Literary semiotics --- Film --- Motion pictures and literature --- Motion pictures --- Cinéma et littérature --- Cinéma --- Semiotics --- Sémiotique --- Film adaptations. --- Adaptations, Film --- Books, Filmed --- Filmed books --- Films from books --- Literature --- Motion picture adaptations --- Literature and motion pictures --- Moving-pictures and literature --- Film adaptations --- Adaptations --- Cinéma et littérature --- Cinéma --- Sémiotique --- Litterature et le cinema

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Motion pictures and literature --- Film adaptations --- 82:791.43 --- Film adaptations. --- #KVHA:Film --- Literature and motion pictures --- Moving-pictures and literature --- Literature --- Adaptations, Film --- Books, Filmed --- Filmed books --- Films from books --- Motion picture adaptations --- Motion pictures --- Literatuur en film --- Adaptations --- Motion pictures and literature. --- 82:791.43 Literatuur en film --- Literary semiotics --- Film --- Cinéma et littérature --- Adaptations cinematographiques et televisees

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Questions of collective identity and nationhood dominate the memory debate in both the high and popular cultures of postsocialist Russia, Poland and Ukraine. Often the ‘Soviet’ and ‘Russian’ identity are reconstructed as identical; others remember the Soviet regime as an anonymous supranational ‘Empire’, in which both Russian and non-Russian national cultures were destroyed. At the heart of this ‘empire talk’ is a series of questions pivoting on the opposition between constructed ‘ethnic’ and ‘imperial’ identities. Did ethnic Russians constitute the core group who implemented the Soviet Terror, e.g. the mass murders of the Poles in Katyn and the Ukrainians in the Holodomor? Or were Russians themselves victims of a faceless totalitarianism? The papers in this volume explore the divergent and conflicting ways in which the Soviet regime is remembered and re-imagined in contemporary Russian, Polish and Ukrainian cinema and media.

Historical films --- Motion pictures --- Political aspects --- History and criticism. --- Historischer Film. --- Film. --- Krieg. --- Sowjetunion. --- Kollektives Gedächtnis. --- Polen. --- Russland. --- Ukraine. --- History and criticism --- Film adaptations --- Adaptations, Film --- Books, Filmed --- Filmed books --- Films from books --- Literature --- Motion picture adaptations --- istory and criticis. --- Adaptations