With its focus on new critical, theoretical, and cultural developments in contemporary film studies, this series intends to develop rigorous analytical debate within an innovative, multidisciplinary, and transnational approach to European cinema. Through a mixture of edited collections and single-authored volumes, the series aims both to re-evaluate established critical thought and to identify and explore new trends and theories that will inform cinema studies over the coming decades.

Rosemary Stott lectures in Film Studies at London Metropolitan University. She has published widely on cinema in the German Democratic Republic and its legacy in post-unification Germany.

«(Hier) liegt eine wichtige und in hohem Masse interessant zu lesende Publikation vor, die bisher bestehende Ungleichgewichte in der Erforschung von DDR-Film und -Kultur zu korrigieren vermag. Hervorzuheben ist insbesondere, dass Rosemary Stott den Begriff der Zensur um Mechanismen der Distribution und Vorführung erweitert. [...] Der Studie gelingt es somit sichtbar zu machen, in welch hohem Mass die DDR-Kultur nicht nur von Fernseh-, sondern auch von Kinofilmen westlicher Länder beeinflusst wurde – und dies, obwohl die ideologischen Grundprinzipien der Filmauswahl bis zuletzt ihre Gültigkeit behielten.» (Anne Barnert, sehepunkte) «‘Crossing the Wall: The Western Feature Film Import in East Germany’ (...) offers a fascinating insight into the transnational film relations between East Germany and the rest of the world. Based on newly available archive material, [Stott] explores the cultural policy surrounding the import of West German, American and British feature film in the Honecker era, including their reception. She argues that East German audiences were neither isolated from the Western media, nor were Western products their sole source of entertainment, rather that foreign and domestic media existed in ‘contrasted dialogue’.» (Sara Jones, The Year’s Work in Modern Language Studes 73, 2013)

Contents: History of the western feature film import in East Germany – Film programming policy in the GDR – Film distribution, exhibition, reception and spectatorship in the GDR – Dubbing and censorship processes for import film in the GDR – The film import policies of East Germany and the other socialist states – DEFA film production and its relationship to the western import film – The American, British and West German import film in the GDR – The Western and DEFA The science fiction film and DEFA utopian film – Race and gender in the western import and DEFA film. Inhaltsverzeichnis