Table of Contents - 6[-]Preface - 10[-]Introduction: European Cinema: Conditions of Impossibility? - 14[-]National Cinema: Re-Definitions and New Directions - 34[-] European Culture, National Cinema, the Auteur and Hollywood - 36[-] ImpersoNations: National Cinema, Historical Imaginaries - 58[-] Film Festival Networks: the New Topographies of Cinema in Europe - 83[-] Double Occupancy and Small Adjustments: Space, Place and Policy in the New European Cinema since the 1990s - 109[-]Auteurs and Art Cinemas: Modernism and Self-Reference, Installation Art and Autobiography - 132[-] Ingmar Bergman - Person and Persona: The Mountain of Modern Cinema on the Road to Morocco - 134[-] Late Losey: Time Lost and Time Found - 156[-] Around Painting and the -End of Cinema : A Propos Jacques Rivette's La Belle Noiseuse - 166[-] Spellbound by Peter Greenaway: In the Dark ... and Into the Light - 179[-] The Body as Perceptual Surface: The Films of Johan van der Keuken - 194[-] Television and the Author's Cinema: ZDF's Das Kleine Fernsehspiel - 213[-] Touching Base: Some German Women Directors in the 1980s - 220[-]Europe-Hollywood-Europe - 232[-] Two Decades in Another Country: Hollywood and the Cinephiles - 234[-] Raoul Ruiz's Hypothèse du Tableau Volé - 252[-] Images for Sale: The -New British Cinema - 256[-] -If You Want a Life : The Marathon Man - 271[-] British Television in the 1980s Through The Looking Glass - 279[-] German Cinema Face to Face with Hollywood: Looking into a Two-Way Mirror - 300[-]Central Europe Looking West - 320[-] Of Rats and Revolution: Dusan Makavejev's The Switchboard Operator - 322[-] Defining DEFA's Historical Imaginary: The Films of Konrad Wolf - 326[-] Under Western Eyes: What Does i ek Want? - 343[-] Our Balkanist Gaze: About Memory's No Man's Land - 357[-]Europe Haunted by History and Empire - 372[-] Is History an Old Movie? - 374[-] Edgar Reitz' Heimat: Memory, Home and Hollywood - 385[-] Discourse and History: One Man's War - An Interview with Edgardo Cozarinsky - 396[-] Rendezvous with the French Revolution: Ettore Scola's That Night in Varennes - 408[-] Joseph Losey's The Go-Between - 413[-] Games of Love and Death: Peter Greenaway and Other Englishmen - 421[-]Border-Crossings: Filmmaking without a Passport - 432[-] Peter Wollen's Friendship's Death - 434[-] Andy Engel's Melancholia - 437[-] On the High Seas: Edgardo Cozarinsky's Dutch Adventure - 441[-] Third Cinema/World Cinema: An Interview with Ruy Guerra - 445[-] Ruy Guerra's Erendira - 462[-] Hyper-, Retro- or Counter-: European Cinema as Third Cinema Between Hollywood and Art Cinema - 465[-]Conclusion - 484[-] European Cinema as World Cinema: A New Beginning? - 486[-]European Cinema: A Brief Bibliography - 516[-]List of Sources and Places of First Publication - 532[-]Index of Names - 536[-]Index of Film Titles / Subjects - 550Onder invloed van de rivaliteit met Hollywood en de val van de muur in 1989 vond er in de jaren '90 in veel West-Europese landen een levendig debat plaats over de toekomst van de nationale filmtradities. Van het bestaan van zich onderscheidende 'nationale' stijlen, zoals bijvoorbeeld neo-realisme, zou niet langer kunnen worden uitgegaan. Film zou e