In Czechoslovakia, in the 1960s, artists began to realize that the aesthetics of social realism contrasted with the realities of daily life; a movement of film arose in response to the politics and history of the nation. This work collects candid interviews with the creators of the Czech New Wave film movement (1960-2000). Their work put Czech film on the map of world cinema, generating two Oscars for Best Foreign Film, but the official critique marked them as decadent, pessimistic, and reactionary. The work contains sixteen uncensored interviews with filmmakers such as Jan Nemec, Jiri Menzel, Saša Gedeon, and Jan Sverak, who describe the struggle to realize their visions in a constantly shifting political landscape: from the mid-1960s, through the repressive "normalization" after the Soviet occupation in 1968 (more films were banned in 1970 than during the previous twenty years of Communism), and after the Velvet Revolution of 1989. The interviews give portraits of some of the most talented figures in film, revealing artists searching for individual and national identity, who describe living and making film in the Czech Republic now and in the past, explore how foreign films influence Czech film, and speculate on the future of film. Each interview includes a short biography, filmography, and list of awards. The work is bookended by essays giving background on the political and economic situations leading up to and after the Velvet Revolution.

The cultural liberalization of communist Czechoslovakia in the 1960s produced many artistic accomplishments, not least the celebrated films of the Czech New Wave. This movement saw filmmakers use their new freedom to engage with traditions of the avant-garde, especially Surrealism. This book explores the avant-garde's influence over the New Wave and considers the political implications of that influence. The close analysis of selected films, ranging from the Oscar-winning Closely Observed Trains to the aesthetically challenging Daisies, is contextualized by an account of the Czech avant-garde and a discussion of the films' immediate cultural and political background.

This study of the most significant movement in post-war Central and East European cinema examines the origins and development of Czechoslovakian film during this time, as well as the political and cultural changes which influenced some of the most important works.

Gender, especially masculinity, is a perspective rarely applied in discourses on cinema of Eastern/Central Europe. Masculinities in Polish, Czech and Slovak Cinema exposes an English-speaking audience to a large proportion of this region’s cinema that previously remained unknown, focusing on the relationship between representation of masculinity and nationality in the films of two and later three countries: Poland, Czechoslovakia/the Czech Republic and Slovakia. The objective of the book is to discuss the main types of men populating Polish, Czech and Slovak films: that of soldier, father, heterosexual and homosexual lover, against a rich political, social and cultural background. Czech, Slovak and Polish cinema appear to provide excellent material for comparison as they were produced in neighbouring countries which for over forty years endured a similar political system – state socialism.

Analysis of 24 films including: People of the mountains, Ashes and diamonds, Knife in the water, A shop on the high street, Closely observed trains, Daisies, Man of marble, Colonel Redl, The decalogue (Dekalog), Satantango, The garden, Alice (directed by Jan Svankmajer).

The Encyclopedia of the Documentary Film is a fully international reference work on the history of the documentary film from the Lumière brothers' Workers Leaving the Lumière Factory (1885) to Michael Moore's Fahrenheit 911 (2004). This Encyclopedia provides a resource that critically analyzes that history in all its aspects. Not only does this Encyclopedia examine individual films and the careers of individual film makers, it also provides overview articles of national and regional documentary film history. It explains concepts and themes in the study of documentary film, the techniques used in making films, and the institutions that support their production, appreciation, and preservation.

Marx and the Moving Image approaches cinema from a Marxist perspective. It argues that the supposed 'end of history', marked by the comprehensive triumph of capitalism and the 'end of cinema', calls for revisiting Marx's writings in order to analyse film theories, histories and practices.