Hungarian Cinema: From Coffee House to Multiplex
Wallflower, 2004 - 258 páginas
Hungarian cinema has often been forced to tread a precarious and difficult path. Through the failed 1919 revolution to the defeat of the 1956 Uprising and its aftermath, Hungarian film-makers and their audiences have had to contend with a multiplicity of problems. In the 1960s, however, Hungary entered into a period of relative stability and increasing cultural relaxation, resulting in an astonishing growth of film-making. Innovative and groundbreaking directors such as Miklós Jancsó ( Hungarian Rhapsody, The Red and the White), István Szabó ( Mephisto, Sunshine) and Márta Mészaros ( Little Vilma: The Last Diary) emerged and established the reputation of Hungarian films on a global basis. This is the first book to discuss all major aspects of Hungarian cinema, including avant-garde, animation, and representations of the Gypsy and Jewish minorities.
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István Bethlen resigned on 19 August 1931 to be succeeded by another
conservative , Count Gyula Károlyi , who was dismissed just over a year later ( 21
September 1932 ) and replaced by the anti - Semitic Gyula Gömbös , a man who
Count Raday has been given the job of weeding out the ringleaders . He does
this by various acts of brutality and psychological torture , notably carried out by
Hungarians . The fort , where the prisoners are confined , is situated next to the ...
The Bridge Man concerns Count István Széchenyi , the most prominent of a
generation of reforming and modernising Hugarians of the early to mid -
nineteenth century ; his most visible legacy is the Chain Bridge ( Lanchíd ) – the
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Revolution Reaction and the Talkies
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Vista previa limitada - 2003