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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21 Hungarian audiences could also see various Nazi imports such as Veit Harlan
' s disgusting anti - Semitic film Jud Suss or the Fritz Hippler compilation The
Jewish Devil ( Az ördök Zsidót ) , both films being screened in 1941 . By 1943 ...
Only a few Western films were seen by Hungarian audiences and US films in
particular became increasingly rare as the Cold War progressed . A number of
US films were allegedly banned because of their association with certain
Foreign cinephiles and festival organisers may have admired the film but the
domestic audiences did not . Released on 30 April 1993 , by the end of the year
Child Murders had attracted only 5 , 148 admissions . Even winning the major
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Cinema of the Other Europe: The Industry and Artistry of East Central ...
Vista previa limitada - 2003