This book represents a pivotal moment in the evolving landscape of cultural history, marked by a growing emphasis on transnational perspectives. While existing studies on urban popular culture and entertainment industries have predominantly focused on the circulation of genres, actors, and shows within Western and Central European and North American metropolises, this volume seeks to broaden the scope. By delving into the interconnections between Northern, East-Central, and Southern European cities, it offers a more comprehensive understanding of the emergence and cross-border transmission of various forms of popular culture. The editors of the volume, Antje Dietze (researcher in the Collaborative Research Center “Processes of Spatialization under the Global Condition” at Leipzig University) and Alexander Vari (Professor of History at Marywood University in Scranton) are two of the most influential scholars of transnational/transregional and urban history as well as popular culture in Europe during the Cold War and post-socialist era.

The volume is divided into two parts. The first part examines aspects of the development of urban pop culture and the formation of cultural networks with examples from Central Europe (S. Korbel), Russia (N. Koivisto-Kaasik and S. Rantanen), Greece (E. A. Delveroudi), Sweden (R. Hoogland), and Hungary (A. Bari). The second part examines the social impact of urban culture and its contribution to nation-building with examples from interwar Europe: Madrid (R. Pallol-Trigueros and C. De Pedro Alvarez), Yugoslavia (I. Vesic), Poland (A. Piotrowska), Istanbul (G. Carole Wodall), and Iceland (O. Rastrick). Through meticulous analysis of mediating agents, transnational networks, and local responses, the authors illuminate the dynamics of entertainment in the European peripheries. These case studies not only enrich our understanding of urban popular culture in Europe but also underscore the significance of multidirectional transfers and diverse regional experiences.

First, the years from the late nineteenth century – especially after the Franco-Prussian War – until 1930 was a period of intense change in all cultural and social areas, a time of transitions, of creation, and of debunking expectations. This era of contradictions was poised to bring changes to the practices, behaviours, and customs of European societies as they had appeared for a long period, at least until the end of the interwar period. During those years, the framework of the upcoming global conflict was shaped and dominated by the pursuit of “national restoration,” “national liberation,” or “national rights.” It was the era marked by the triumph of the capitalist model and colonial expansion worldwide, of the “Westernization” of the globe, and of the boundless exploitation of people and nature by imperialist powers. The end of the nineteenth century was the age of great social contradictions, class consciousness, and major social struggles. However, this is only one side of the story. The West, whether in its European or North American version, symbolized the transition to a “modern” and “new” era. This was reflected in the lights electrifying the ever-expanding metropolises, growing in size and height, and the increased speed of life facilitated by new trains and rails. Overseas travel became safer, more regular, and more accessible to more people thanks to modern, larger, and faster ocean liners. News and ideas were printed more quickly, for more people, and reached more places faster.

Second, when we talk about intellectual production and cultural life in 1900, we primarily refer to what is happening in the major cities and less to the provinces of European states. The Belle Époque, with all that it symbolizes, concerns the old European metropolises – such as Paris, London, Munich, Madrid, St. Petersburg, and Vienna – as well as the emerging centres of cultural life – such as Brussels, Amsterdam, Berlin, Budapest, Prague, and Moscow. It also pertains to regional centres of intellectual activity that gained particular significance at the same time as places of production with national or distinct local scope (e.g. Lisbon, Barcelona, Rome, Milan, Bayreuth, and Stockholm) and capitals of new states seeking a role in the intellectual forefront of the nations they represented alongside their recognized institutional roles as administrative, political, and economic centres (e.g. Athens, Bucharest, Oslo, etc.).

Third, between 1870 and 1930, the European city undergoes a fundamental transformation. Its size changes as it encroaches upon and annexes territories from the suburbs. Its urban morphology alters as buildings rise taller, and the once singular centre disintegrates into multiple districts with autonomous and parallel lives within the same urban fabric. In these neighbourhoods, in the smaller towns within the cities, artistic innovations emerge, sometimes fostering competitive relationships among them. The functions and uses of the city also evolve. Some areas emerge as centres of consumption and entertainment, while others maintain their connection to the high culture of the past, and new forms of economic activity become associated with mass cultural phenomena targeting almost the entire population. The development of technology and science contributes to this mass appeal, while electrification changes the very perception of time and “legitimizes” night-time cultures that were previously on the margins of the society.

In the cities emerged what later became known as mass consumer culture, with an emphasis on the dissemination and reading of newspapers and periodicals of all kinds. Part of a new profitable sector of capitalism, the press adapted its content to an ever-expanding clientele covering more social groups. It was a true “silent cultural revolution” which embraced broader popular audiences thanks to the spread of literacy through the establishment of compulsory education. Reporting, news from around the world, cartoons, images, and photographs accompanied traditional publications, offering a new product that contributed to the dissemination of information across the continent, creating new reading audiences and strengthening democracy in the new societies of Europe.

At the same time, fourth, publishing evolved both technically and qualitatively, becoming a dynamic sector of new economic activities. The increase in readership through the so-called popular press and the creation of specialized editions changed daily habits in many countries. New popular reading genres such as detective novels and romance stories transcended previously known reading boundaries, creating heroes who gained fame beyond their birthplace. These developments were catalytic, forever altering the landscape of reading and its audience, shifting from a medium primarily enjoyed by elites, as it had been for centuries, to becoming a pleasure accessible to the masses. This “second printing revolution” was directly linked to broader economic changes, especially in the more developed states of Europe. It empowered the dominant centres of cultural life, such as major cities and capitals, strengthening existing publishing networks, creating new ones, and forming the first major conglomerates in the publishing industry, which would now become a cornerstone of the capitalist system.

The analyses of the economic and political developments that marked the end of the nineteenth century and 1930 cannot be considered complete without studying the scientific changes, renewals, and ruptures in philosophy and the arts, the emergence of new trends and schools. As Lucien Febvre stated, “History in a world of absolute instability allows us to live with other reflexes apart from those of fear.” The authors in this volume delve into various cultural domains of production and sites of consumption that collectively constituted the entertainment landscapes of the cities within the target regions. They explore prevalent genres of live entertainment found in popular theatre, music, and dance while examining their intersections with the emergence of early cinema and the growth of the music publishing and recording sectors. A significant contribution comes from the cultural transfer approach.

Another pivotal insight derived from these inquiries pertains to the geographic contexts and spatial constructs of cultural interconnections. Cultural transfer analysis emphasizes that national cultures are amalgamated constructs, forged through iterative processes of observation, emulation, and appropriation. Examining transfer mechanisms and delineating these networks has emerged as a significant methodological strategy in transnational research on leisure and entertainment. Numerous investigations, for instance, have tracked the paths of particular cultural genres as they traversed and transformed within interconnected urban networks. Furthermore, many authors in this volume contextualize the entities they examine within specific subregions, such as the Nordic countries, the Baltic Sea area, the Eastern Mediterranean, or Southeastern Europe, which have historically held significant importance in the narrative of European history. Their contributions shed light on how transnational popular culture influenced the development and dynamics of these regional landscapes and cultural centres. Additionally, more specific areas of study are proposed, such as musical interactions and the evolution of cinema, as prime examples of new transnational exchanges.

Revisiting the study of urban popular culture from the late nineteenth century to the interwar period enables us to grasp the fears and hopes of people of that time. As we delve into the diverse facets of urban culture, we enter a captivating “fragmented world” that seems inexhaustible. We observe the changes, transitions, the realm of salons and margins, urban ennui, the bustling metropolis, fears, and the absence of joy. We traverse the grand boulevards of European cities and explore the vibrant artistic neighbourhoods, sharing admiration and aspirations for various achievements and the vitality concealed within the city.

Another aim of the book is to emphasize that crafting a transnational history of urban entertainment during this era cannot ignore these profound transformations; instead, it poses the challenge of understanding how connectivity intertwined with shifts in territorial and political boundaries. Edited by Antje Dietze and Alexander Vari, the volume will attract researchers and students intrigued by the historical evolution of popular culture in contemporary societies, particularly those focusing on urban settings in Europe and their interconnectedness across national and regional borders. For all these reasons, the studies in this volume are both innovative and essential for understanding the development of urban popular culture within a European context.