Was there experimental cinema behind the Iron Curtain? What forms did experiments with film take in state socialist Eastern Europe? Who conducted them, where, how, and why? These are the questions answered in this volume, the first of its kind in any language. Bringing together scholars from different disciplines, the book offers case studies from Bulgaria, Czech Republic, former East Germany, Hungary, Poland, Romania, and former Yugoslavia. Together, these contributions demonstrate the variety of makers, production contexts, and aesthetic approaches that shaped a surprisingly robust and diverse experimental film output in the region. The book maps out the terrain of our present-day knowledge of cinematic experimentalism in Eastern Europe, suggests directions for further research, and will be of interest to scholars of film and media, art historians, cultural historians of Eastern Europe, and anyone concerned with questions of how alternative cultures emerge and function under repressive political conditions.

Dr. Ksenya Gurshtein is the Curator of Modern and Contemporary Art at the Ulrich Museum of Art, Wichita State University in Wichita, Kansas. She holds a Ph.D. in the History of Art, and her academic research focuses on post-war conceptual, experimental, and neo-avant-garde art in Eastern Europe. Her scholarship and criticism have appeared in scholarly journals, popular magazines, exhibition catalogs, and online.

Dr. Sonja Simonyi is an independent scholar working on the visual cultures of socialist Eastern Europe. She completed her dissertation in 2015 at New York University on the Western genre in socialist Eastern European cinema. Her work on both popular and experimental cinema has appeared in a number of edited volumes as well as the journals Film History and Third Text.

Acknowledgments
Introduction (Ksenya Gurshtein and Sonja Simonyi)
Part I Key Figures
1 The Experimentalism of Gábor Bódy (Gábor Gelencsér)
2 Tomislav Gotovac’s Straight Line, Circle, Blue Rider and Yugoslav Ciné-club Culture (Greg de Cuir Jr.)
3 From the Workshop of the Film Form to Martial Law: On the Intersecting and Bifurcating Paths of Pawe. Kwiek’s and Józef Robakowski’s Cinematographic Work in the 1970s and 1980s (.ukasz Mojsak)
Part II Production, Support, and Distribution
4 Experimental Filmmaking in Bulgaria in the Socialist Period (Vladimir Iliev and Katerina Lambrinova)
5 Wojciech Wiszniewski and the Polish Creative Documentary (Masha Shpolberg)
6 Home Movies and Cinematic Memories: Fixing the gaze on Vukica .ilas and Tatjana Ivan.i. (Petra Belc)
Part III Viewing Contexts, Theories, and Reception
7 Slobodan .ijan’s Film Leaflet: An Alternative Film Forum, Festival, and Institution (Aleksandar Bo.kovi.)
8 kinema ikon – Experiments in Motion (1970-1989) (Ileana Selejan)
9 Audio-Visuals: Sound, Music, and Noise in East German Experimental Film (Seth Howes)
Part IV Intersection of the Arts
10 Intersections of Art and Film on the Wroc.aw Art Scene (Marika Ku.micz)
11 Conceptual Artist, Cognitive Film:Miklós Erdély at the Balázs Béla Studio ( Ksenya Gurshtein)
12 Works and Words, 1979: Manifesting Eastern European Film and/as Art in Amsterdam ( Sonja Simonyi)
13 Wizardry on a Shoestring: .arod.j and Experimental Filmmaking in Late Socialist Czechoslovakia (Tomá. Glanc)