Continuity and change are the two major trends that mark European film and media vistas today. While continuity is the result of more than a century of European film and media tradition, change is brought about by technological convergence, the evolution of globalization and commercial markets and of artistic and aesthetic norms, and the ever-expanding cultural borders of Europe. Bringing together eighteen research-based analyses on topics as diverse as Europe itself, Shifting Landscapes: Film and Media in European Context presents various accounts of filmic and televisual media, text and form, mediated politics, media policy, globalization, diasporic media, multiculturalism and more. The chapters are grouped into three main sections: Identities, Borders, Industries; Migration, Space, Transnationality; and Telling Stories: Medium, Form, Message and Beyond. Employing film studies, critical social theory and cultural studies and drawing upon technological, spatial, political economic, sociological and anthropological approaches, the authors present multidimensional and multi-faceted depictions of the historical and contemporary factors that have shaped, and continue to shape, film and media in Europe. Ambitious in both its intellectual and geographical scope, this volume provides us with an innovative and original understanding of what is happening in the new and rapidly changing European cinema scene - a very welcome intervention in an important cultural agenda. Kevin Robins, City University, London Miyase Christensen and Nezih Erdogan have edited an excellent book on film and media landscapes in the new Europe of the early twenty-first century. Incorporating eighteen individual chapters in three parts, the book re-examines what European media and cinema means during a period in which the geographical and cultural boundaries of Europe are still shifting, the media themselves are deeply influenced by the digital revolution, and audiences for film are constantly re-defining themselves. The book itself offers fresh perceptions across a range of different fields and should be of interest to all those fascinated by current trends in both film and media. Melvyn Stokes, University College London
