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State University of New York Press, Published 2001. Hardcover, xvi, 251 pp.; 24 cm; First Edition (with full number line); SUNY Series, Cultural Studies in Cinema/Video, ed. Wheeler Winston Dixon; illustrated with black-and-white film stills and posters.
In Very Good condition, no dust jacket. Laminated pictorial boards (olive front with black-and-white photograph of a Belgique / Nederland / Deutschland signpost; gray spine; white rear). Some fading and toning to spine, mild surface wear, light bumping to corners. Binding tight. Pages clean and unmarked. [From back cover] In presenting the first English language study of Belgian cinema, Split Screen explores the fascinating history of a cinema largely determined by linguistic division and beset by problems of cultural identity. In surveying the evolution of Belgian cinema from its beginnings to the present day, Philip Mosley locates all the major feature films, describes the crucial intervention of the state in film production, and reveals undervalued Belgian traditions in documentary, in animation, in short films, and in a colonial cinema created partly by missionaries in the former Belgian Congo. Draws on the author's interviews with Henri Storck, Andre Delvaux and Marion Hansel. Illustrations include De storm des levens (1920), the oldest Flemish film; posters for L'Yser (1927), Charles Dekeukeleire's Congo film Terres brulees (1934) and Tintin et le lac aux requins (1972); and stills from Storck and Joris Ivens's Misere au Borinage (1933). Mosley later received the 2008 literary translation prize of the French Community of Belgium for his translations of Rodenbach and Maeterlinck, and wrote The Cinema of the Dardenne Brothers (2013). Contents: Belgian Cinema and Cultural Identity; Beginnings to the Coming of Sound; Sound to Liberation, 1930-1945; The Postwar Period, 1945-1960; A New Era, 1960-1975; Reaction and Revival, 1975-; Belgian Cinema and the New Europe; Notes; Works Cited; Index.