Experimental cinema in state socialist Eastern Europe

Click to increase image sizeClick to decrease image size

Acknowledgments

The production of this issue depended on contributions from many people. We would like to thank Ewa Mazierska, the principal editor of Studies in Eastern European Cinema, for giving us the opportunity to undertake this project and for offering us practical guidance and scholarly insight throughout the process. We are also grateful to deputy editor Elzbieta Ostrowska for her editorial input and to Alistair Meier and the entire Taylor & Francis team that produced the journal. We deeply appreciate the energy and expertise that the authors of the articles put into writing and refining their texts and, finally, want to extend our sincere thanks to the peer reviewers who must remain anonymous, but whose feedback was invaluable to both the authors and us as editors.

Notes

1. Introductions to all the programs and descriptions of the screened films remain accessible today at a dedicated website, which can be found at http://www.nga.gov/content/ngaweb/features/experimental-cinema-in-eastern-europe.html.

2. We want to thank Maria Vinogradova for her contribution to this portion of the introduction. Parts of this discussion originally appeared in Maria's article, but were moved here due to their more general applicability.

3. Maria Vinogradova has drawn our attention to a study by Andersson, Sundholm and Widding (2010) in which the authors demonstrate through the example of Swedish film workshops in the 1960s and 1970s another case of ‘experimental’ culture that was publicly funded and integrated into the state apparatus, with the authors suggesting that there was no contradiction between the state funding and free expression.

4. A lengthy discussion of Turković's theoretical approach appeared in an earlier draft of Aida Vidan's paper, and we are grateful to her for her extensive summary and translated quotes of a text that has not been published in English.