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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Despite the establishment of the Projectograph Studio in 1908 , it is the Hunnia
Studio , built between September 1911 and February 1912 , which is usually
regarded as the first fully - fledged purpose - built Hungarian film studio . Situated
In 1962 , these became Studio I ( headed by Imre Bányasz ) , Studio II ( Tamás
Fejer ) and Studio III ( Lajos Hárs ) . A fourth Studio ( whose head became István
Nemeskürty ) was added by combining Hunnia and the News and Documentary
The four - studio system , ' which arose in the 1960s , was slimmed down to just
two – the Budapest Film Studio ( run by István Nemeskürty ) and the Hunnia
Feature Film Studio ( under the auspices of János Soprani , then ...
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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