Editorial
When we founded the East European Film Bulletin in January 2011, we had one question in mind: where is cinema? At the time, the Romanian New Wave was already in full swing, while countries such as the Czech Republic and Poland had established a large film infrastructure. A region whose cinematic output had collapsed post-1989...
Continue Reading
Vol. 111 (January 2021)
In his essay on the Polaroids of Andrei Tarkovsky, Gawan Fagard draws parallels between the ontology of the medium and the work of the Russian director.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are as essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
X
Dear readers, we are not-for-profit, ad-free and don't believe in (pay)walls. Become an EEFB patron for as little as $1
