Frontiers of Screen History

Kimmo Ahonen and Heta Mulari are research fellows in the Department of Cultural History at the University of Turku, Finland.  

Foreword – Tom Conley Introduction: Encounters with Borders – Kimmo Ahonen, Raita Merivirta, Heta Mulari and Rami Mähkä Worlds Divided by the Iron Curtain Chapter 1: Imagining West Berlin: Spatiality and History in Wim Wenders’ Wings of Desire, 1987 – Hannu Salmi Chapter 2: ‘What’s Wrong with a Cowboy in Hamburg?’: New German Cinema and the German-American Cultural Frontier – Jacqui Miller Chapter 3: The Collapse of Ideologies in Peter Kahane’s The Architects – Marco Bohr Chapter 4: How to Win the Cold War: Borders of the Free World in Guilty of Treason (1950) and Red Planet Mars (1952) – Kimmo Ahonen Alternative Cultural Locations Chapter 5: Crossing Over: On Becoming European in Aki Kaurismäki’s Cinema – Sanna Peden Chapter 6: Looking for Alternative London: The London Nobody Knows and the Pop-Geographical Borders of the City – Kari Kallioniemi Chapter 7: The Cité’s Architectural, Linguistic and Cinematic Frontiers in L’Esquive – Jehanne-Marie Gavarini Borders Crossed, Borders Within Chapter 8: Between Hamburg and Istanbul: Mobility, Borders and Identity in the Films of Fatih Akin – Jessica Gallagher Chapter 9: Transnational Heroines: Swedish Youth Film and Immigrant Girlhood – Heta Mulari Chapter 10: Family as Internal Border in Dogtooth – Ipek A. Celik Post-Colonial Borders and Cultural Frontiers Chapter 11: Gendered Conflicts in Northern Ireland: Motherhood, the Male Body and Borders in Some Mother’s Son and Hunger – Raita Merivirta Chapter 12: Heartlands and Borderlands: El Dorado and the Post-Franco Spanish Cinema as a Bridgehead between Europe and Latin America – Petteri Halin Chapter 13: Subverted and Transgressed Borders: The Empire in British Comedy and Horror films – Rami Mähkä