Cinema in Post-War Belgium

Foreword
Tomas Leyers

Acknowledgements

Introduction: Cinema in post-war Belgium
Bjorn Gabriels, Gertjan Willems, & Bénédicte Rochet

PART I: Setting the Stage: Contextualising Post-War Belgian Cinema

Chapter 1. From national to regional film support: Belgian film production policy in the post-war era (1945–1967)
Gertjan Willems & Alexander De Man
Chapter 2. Concentric spheres of control: On film censorship and discipline during the Belgian Trente Glorieuses
Daniel Biltereyst
Chapter 3. Reel power: Belgian colonial filmmaking after 1945
Matthew G. Stanard
Chapter 4. Mechanics of the industrial image at Sofidoc, the Société du Film Documentaire: Where aesthetic ambitions meet the demands of commissioned films (1947–1960)
Bénédicte Rochet
Chapter 5. From film club to film archive: The 1947 Brussels 1st Festival Mondial du Film et des Beaux-Arts and the making of the Cinémathèque de Belgique
Xavier García Bardón
Chapter 6. From cinephilia to cinéma critique: The Haesaerts brothers’ impact on post-war Belgian film culture, non-fiction networks, and art documentaries
Joséphine Vandekerckhove

PART II: Behind the Camera: Key Figures and Filmmaking Practices

Chapter 7. Flemish popular comedies: Edith Kiel, Jan Vanderheyden, and the Antwerp Film Company AFO, 1952–1961
Dirk Van Engeland, Roel Vande Winkel, & Gertjan Willems
Chapter 8. Towards the myth of the industrial hero: Charles Dekeukeleire’s theories on fiction films
Mathilde Lejeune
Chapter 9. Marcel Broodthaers: Documentary filmmaker (1957–1964)
Margaux Van Uytvanck & Raf Wollaert
Chapter 10. Red searching for form: The early works of Harry Kümel
Ernest Mathijs
Chapter 11. Tracing the origins of Fugitive Cinema
Liesje Baltussen & Gertjan Willems

PART III: On Screen: Identities, Politics and Modernism

Chapter 12. Ceci est un cinéma d’auteur belge: Belgian auteur cinema inspired by Italian, French, and Belgian modernist cinema
Wouter Hessels
Chapter 13. Meeting another Waterloo: Edmond Bernhard and the “metaphysical subversion of the tourist film”
Bjorn Gabriels
Chapter 14. Henri Storck’s The Smugglers’ Banquet (1952): Blurring the borders between commission and reality
Christoph Brüll & Jeremy Hamers
Chapter 15. Silver screens, gendered lenses: Age and gender in post-war Belgian fiction films
Femke De Sutter
Chapter 16. A royal zero hour? Belgian King Leopold III and SS officer Ernst Schäfer making Masters of the Congo Jungle (1958)
Matthias De Groof, Bjorn Gabriels, & Koen Aerts

Contributors
Index