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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In stark contrast , Hungarian film exports to the Soviet Union were almost non -
existent . The blame for the lack of interchange between the countries can be laid
at the doors of both regimes . Horthy ' s Hungary was vehemently anti - Soviet ...
With Soviet hegemony firmly established , the Hungarian film industry was forced
to adopt the dictates of Socialist Realism . Radványi ' s film was widely thought to
be a turning point but this was not to be . It is a commonly held opinion that ' the ...
Formalism was one of the charges levelled against Eisenstein and other Soviet
film - makers by Party hacks after the imposition of Socialist Realism . Such was
the vilification thrown at some Soviet filmmakers that by the late 1940s and early
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Revolution Reaction and the Talkies
Quotas Foreigners and Coproductions
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Cinema of the Other Europe: The Industry and Artistry of East Central ...
Vista previa limitada - 2003