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University of Minnesota Press Minneapolis LondonĪn earlier version of chapter 2 was published as “The Name of the (Sub)title: Internationalism, Coproduction, and Polyglot European Art Cinema,” Camera Obscura 46, vol.Find out the truth about Jumpcut Academy 2.0 within my review. 1 (2001) reprinted with permission from Duke University Press. Parts of chapter 4 were published as “Film History, Film Genre, and Their Discontents: The Case of the Omnibus Film,” The Moving Image 1, no. 2 (2001): 57–87.Ĭopyright 2009 by the Regents of the University of MinnesotaĪll rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401-2520 Library of Congress Cataloging-in-Publication Data Betz, Mark. Beyond the subtitle : remapping European art cinema / Mark Betz. Includes bibliographical references and index. Motion pictures-Europe-History-20th century. Printed in the United States of America on acid-free paper The University of Minnesota is an equal-opportunity educator and employer.Ģ. The Name above the Subtitle Language, Coproduction, Transnationalism 45 3. Wandering Women Decolonization, Modernity, Recolonization 93 4. Exquisite Corpses Art Cinema, Film Studies, and the Omnibus Film 179Īppendix: Omnibus Filmography 245 Notes 287 Index 339Īs with many first books, the history of this one is entwined with my own personal and intellectual development. More people than can be named have contributed to it, and acknowledging them all would be impossible. But tracing a bit of that history and noting those who have played significant roles are important, as this book would not be what it is without them. While my interest in cinema long preceded any scholarly study of it, my years spent at the University of Manitoba were foundational as they introduced new ways of experiencing and thinking and writing about films-in fact, new ways to be fascinated by them, and so needing to think and write about them. Much of the spirit of this book owes a debt to my first teachers of film: Frank Burke, Steve Snyder, Gene Walz, and especially George Toles, on whom nothing is lost.
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