Cinema provides entertainment, but it also communicates a set of values, a vision of the world or an ideology. European cinema has dealt with the tension between these two functions in a variety of ways. Diverse and entertaining, this book explores the complex relationship between entertainment, ideology and audiences in European film.

Introduction – Diana Holmes & Alison SmithPart I: Ideologies and cinematic pleasure1. But eastward, look, the land is brighter: towards a topography of utopia in the Stalinist musical – Richard Taylor2. Entertained by the class enemy: cinema programing policy in the German Democratic Republic – Rosemary Stott3. The forbidden films: film censorship in the wake of the Eleventh Plenun – Daniela Berghahn4. Sex and subversion in German Democratic Republic cinema: The legend of Paul and Paula (1973) – Andrea Rinke5. The Good Soldier Švejk and after: the comic tradition in Czech film – Peter Hames6. Cheaper by the dozen: La gran familia, Francoism and Spanish family comedy – Peter William Evans7. Displacing the hero: masculine ambivalence in the cinema of Luis García Berlanga – Parvati Nair8.'When you're not a worker yourself...': Godard, the Dziga Vertov Group and the audience – Steve Cannon9. Quand une femme n'en est pas une: gendered spectatorship and feminist scopophilia in the early films of Jean-Luc Godard – Eliane Meyer10. The fictionalisation of terrorism in West German cinema – Stefan WolffPart II: Entertainment and its ideologies11. Of human bondage and male bonding: male relationships in recent Russian cinema – David Gillespie12. Entertainment – but where's the ideology? Truffaut's last films – Diana Holmes13. Performance in the films of Agnès Varda – Alison Smith14. Singing our song: music, memory and myth in contemporary European cinema – Wendy Everett15. Transatlantic crossings: ideology and the remake – Julia Dobson16. 'Faith in relations between people': Audrey Hepburn, Roman Holiday and European integration – Peter KrämerIndex

Cinema provides entertainment, but it also, inevitably, communicates a set of values, a vision of the world or an ideology. From its beginnings more than a century ago, European cinema has dealt in a variety of ways with the tension between these two functions: at the extremes, dictatorial regimes have sweetened the pill of ideology with the sugar of entertainment. Meanwhile, spectators have persisted in seeking out, above all, the pleasure film can provide.This book explores the complex relationship between entertainment, ideology and audiences in European film, through studies that range from the Stalinist musicals of the 1930s, to cinematic representations of masculinity under Franco, to recent French films and their Hollywood remakes.Diverse and entertaining, 100 years of European cinema is addressed to students of film – especially French, German, Russian or Spanish – and to those readers and academics interested in both the history of cinema and in European culture.Contributors include; Richard Taylor, Rosemary Scott, Daniela Berghahn, Andea Rinke, Peter Hames, Peter William Evans, Parvati Nair, Steve Cannon, Eliane Meyer, Stefan Wolff, David Gillespie, Wendy Everatt, Julia Dobson and Peter Kramer.