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Scotland: A Short History

digitalization) during the last decade, where broadband streaming, social networks and avant-garde communication have become central to the formation of new communities and forms of engagement with existing social conditions. Discussing the interconnection between technology politics, economy, avant-garde experiments and migration, Halle argues that the connection between emigration and avant-garde work ‘has been a central but overlooked part of debates’ (28), starting with the artistic communities of WWI exiles (e.g. DADA movement) through to WWII exiles in New York and beyond, or Europe’s experimental underground film production since the 1960s, who all sought to break with the confining genre patterns of narrative cinema. In this context, Halle defines and advances the concept of interzones as an ‘experience not limited to geographic cartographic proximity but rather an ideational space, a sense of being somewhere that unites two places, if even only transitionally or temporarily’ (5), and to be understood as ‘conflictual dialogic’ spaces of transit, interaction, transformation, and contentious and contested diversity (23). Cinema has been the privileged medium for the imagining of communities, with the representation of interzones in European film (and a dynamic film industry developing in the EU) ultimately used in support of cultural Europeanization. According to Halle, post-1990 European cinema specifically narrates directly international experience of contact and transformation (e.g. in One Day in Europe by Hannes Stöhr, 2005) or that of crossing a Europe without borders (e.g. in Lisbon Story by Wim Wenders, 1994), and subsequently has become a vital mechanism in generating and representing the European Union’s fostering of new networks of cultural interzones. The Europeanization of Cinema is an intelligent and innovative study inasmuch as it connects a range of key concepts from film, border and cultural studies for the examination of (new) imaginative communities beyond the nation-state, and their visual representation and implementation in a post-Wende European cinema.