Professor Richard Taylor – författare

Europe has changed radically since 1989 and continues to change at great speed. This book deals with the principle problems and challenges confronting Europe in the aftermath of the Cold War and the collapse of European communism.Whilst endeavouring to strike a balance between East, West, North and South, the volume is more concerned with the changing political, economic and cultural morphology of Europe, and of the relations within it, than with the formal institutional arrangements of the European Community and its successor, the European Union. There are already numerous books on the institutional development of the EU, but relatively few with a wider compass and institutional interpretations of European integration.The book shows that the study of European integration should be taken in the round, avoiding a narrow and self-centered concern with the development of the ''lesser Europe'' of the EU. It demonstrates that integration should be seen as neither an inexorable predetermined process, nor as an automatic consequence of high levels of economic interdependence, but rather as something that proceeds in fits and starts and sometimes suffers reverses.

Europe has changed radically since 1989 and continues to change at great speed. This book deals with the principle problems and challenges confronting Europe in the aftermath of the Cold War and the collapse of European communism.Whilst endeavouring to strike a balance between East, West, North and South, the volume is more concerned with the changing political, economic and cultural morphology of Europe, and of the relations within it, than with the formal institutional arrangements of the European Community and its successor, the European Union. There are already numerous books on the institutional development of the EU, but relatively few with a wider compass and institutional interpretations of European integration.The book shows that the study of European integration should be taken in the round, avoiding a narrow and self-centered concern with the development of the ''lesser Europe'' of the EU. It demonstrates that integration should be seen as neither an inexorable predetermined process, nor as an automatic consequence of high levels of economic interdependence, but rather as something that proceeds in fits and starts and sometimes suffers reverses.

This is the first collection to be inspired and informed by the new films and archival material that glasnost and perestroika have revealed, and the new methodological approaches that are developing in tandem. Film critics and historians from Britain, America, France and the USSR attempt the vital task of scrutinising Soviet film, and re-examining the Cold War assumptions of traditional historiography.Whereas most books on Soviet giants have glorified the directorial giants of the `golden age'' of the 1920s, Inside the Film Factory also recognises the achievements of popular cinema from the pre-Revolutionary period through to the 1930s and beyond. It also evaluates the impact of Western cinema on the early experimenters of montage, Russian science fiction''s influence on film-making, and the long-suppressed history of Soviet Yiddish productions. Alongside the new perspectives and source material on the much-mythologised figures of Kuleshov and Medvedkin, the book provides the first extended accounts in English of the important but neglected careers of directors Yakov Protazanov and Boris Barnet.

This is the first collection to be inspired and informed by the new films and archival material that glasnost and perestroika have revealed, and the new methodological approaches that are developing in tandem. Film critics and historians from Britain, America, France and the USSR attempt the vital task of scrutinising Soviet film, and re-examining the Cold War assumptions of traditional historiography.Whereas most books on Soviet giants have glorified the directorial giants of the `golden age'' of the 1920s, Inside the Film Factory also recognises the achievements of popular cinema from the pre-Revolutionary period through to the 1930s and beyond. It also evaluates the impact of Western cinema on the early experimenters of montage, Russian science fiction''s influence on film-making, and the long-suppressed history of Soviet Yiddish productions. Alongside the new perspectives and source material on the much-mythologised figures of Kuleshov and Medvedkin, the book provides the first extended accounts in English of the important but neglected careers of directors Yakov Protazanov and Boris Barnet.

In Eisenstein Rediscovered Ian Christie and Richard Taylor present the first true East-West symposium on Eisenstein with an unparalleled diversity of views and methodologies. Two newly discovered texts by Eisenstein are here translated fro the first time, and all the contributors make extensive use of material only recently available - variant scripts, drawings, diaries and other writings - to probe behind the familiar facade. The `new'' Eisenstein that emerges is in all respects a more engaging and contemporary figure than is traditionally perceived, his wit, eroticism and exlectic passions defining a distinctively modern sensibility whose rediscovey is long overdue.