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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Prior to the outbreak of hostilities Czechoslovakia ( like Hungary , a part of the
Habsburg Empire ) imported hardly any Hungarian films ; of their intake , 40 per
cent of films were American , 40 per cent were Italian and the rest mainly French .
... named after himself , mainly to concentrate on making French films , in
opposition to the Paramount product which was held in low esteem in France .
Despite the overvaluation of the French franc , Osso also engaged in foreign
For her part , Mari Törőcsik appeared to have few qualms about some of the more
tacky aspects of the Festival , dispelling any stereotypes about dour Eastern
Europeans by posing for newspaper photographers on the seafront with French ...
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Cinema of the Other Europe: The Industry and Artistry of East Central ...
Vista previa limitada - 2003