The Editors: Angelos Koutsourakis is Postdoctoral Research Fellow at the Centre for Modernism Studies, the University of the New South Wales. Mark Steven is a graduate student at the University of New South Wales. List of Contributors: Maria Chalkou, founder and the principal editor of the online academic journal Filmicon: Journal of Greek Film Studies. Stephanie Hemelryk Donald, University of Liverpool. Caroline Eades, University of Maryland, College Park. Hamish Ford, University of Newcastle, Australia. Dan Georgakas, editor of Cineaste film quarterly since 1969. Asbjorn Gronstad, University Of Bergen. Andrew Horton, University of Oklahoma. Fredric Jameson, author of Postmodernism, or, The Cultural Logic of Late Capitalism (1991, which won the MLA Lowell Award). Smaro Kamboureli, University of Toronto. Vrasidas Karalis, University of Sydney. Alexander Kluge, political philosopher, author, filmmaker, and co-writer of the Oberhousen Manifesto (1962). Julian Murphet, University of New South Wales. Dany Nobus, Brunel University London. Nagisa Oshima (1932-2013), was an influential Japanese filmmaker and scriptwriter. Nektaria Pouli, St Mary's University, South Bank University and the Open University. Sylvie Rollet, University of Poitiers. Richard Rushton, Lancaster University, UK. Mark Steven, University of New South Wales. Robert Sinnerbrink, Macquarie University.

The Cinema of Theo Angelopoulos is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, this groundbreaking collection brings together a team of internationally regarded experts and emerging scholars from multiple disciplines, to provide a definitive account of Angelopoulos' formal reactions to the historical events that determined life during the twentieth and early twenty-first centuries. Refusing to restrict its approach to the confines of the Greek national film industry, the book approaches his work as representative of modernism more generally, and in particular of the modernist imperative to document its allusive historical objects through artistic innovation.

Retrospective in nature, The Cinema of Theo Angelopoulos argues that Angelopoulos' films are not emblems of a bygone historical and cultural era or abstract exercises in artistic style, but are foreshadowing documents that speak to the political complexities and economic contradictions of the present.