MARY HARROD is Assistant Professor in French Studies at the University of Warwick. MARIANA LIZ is Lecturer in Film Studies at the Centre for World Cinemas, University of Leeds. ALISSA TIMOSHKINA received a PhD in Film Studies from King's College London, where she currently teaches.

List of Illustrations, Table and Graph vii
Acknowledgements ix
Contributors xi
The Europeanness of European Cinema: An Overview 1
Mary Harrod, Mariana Liz and Alissa Timoshkina
Section 1 Defining Europe and Its Cinema
1 European Cinema into the Twenty-First Century: Enlarging the
Context? 17
Thomas Elsaesser
2 Popular European Cinema in the 2000s: Cinephilia, Genre and
Heritage 33
Tim Bergfelder
3 Changing the Image of Europe? The Role of European
Co-Productions, Funds and Film Awards 59
Anne J¿ackel
4 From European Co-Productions to the Euro-Pudding 73
Mariana Liz
5 Christianity and European Film 87
Catherine Wheatley
6 The Feather Collectors: Erased Identity and Invisible
Representations of the Roma in Yugoslav Cinema 101
Greg De Cuir Jr.
Section 2 Transnational Europe: Genre, Stardom and Language
7 The Trouble with Stars: Vernacular versus Global Stardom in
Two Forms of European Popular Culture 117
Olof Hedling
8 Juliette Binoche: The Perfect European Star 131
Ginette Vincendeau
9 Franglais, Anglais and Contemporary French Comedy 145
Mary Harrod
10 Laughing in Tongues: Polyglot Comedy in Europe 159
Alison Smith
11 The Use of English in European Feature Films: Unity in
Diversity? 173
Läetitia Kulyk
Section 3 Circulating Europeanness
12 Paris je t?aime (plus): Europhobia as Europeanness in Luc Besson
and Pierre Morel?s Dystopia Trilogy 185
Neil Archer
13 Hollywood and Europe: Remaking The Girl with the Dragon Tattoo 199
Lucy Mazdon
14 Spanish Heritage Cinema 213
Sally Faulkner
15 From Russia to Europe and Back: East Meets West in the Films
of Pavel Lungin 227
Alissa Timoshkina
Bibliography 241
Index 259
vi