Editorial

This article presents an introduction to the various articles related to European cinema published in March 1, 2004 issue of the journal "Studies in European Cinema." European cinemas of today traverse borders; they exchange cultural perspectives; they compete not only for single-language audiences but for the audiences that come to them in search of new ideas, new thrills, new art. Populist or high art, mainstream or fringe, European cinemas feed off the demand out there for variety and difference. Yes, they struggle to meet all needs. Yes, for some, one European film or another might fail to satisfy some desire. But, regardless, each film finds its audience; and films do so because they are the artefacts of a prevailing sensibility: the sensibility of cinematic form. By sensibility it is meant that European cinema, the films of Europe or those driven by a perspective evolving from an association with Europe, occupy a recognizable formal place in the history of film. They are distinct, founded on technological, artistic, personal and public traditions of their own. They know their audience. It would be naive or arrogant to suggest that European cinema does not know how it is perceived.