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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This whole process of cultural misappropriation and dislocation was reinforced
by the manner in which Hungarians and other Eastern European actors abroad
were almost invariably typecast as villains , devious foreign agents , Nazi spies ...
The Witness was destined to achieve almost cult status in Hungary and certain
lines from the film became landmarks in Hungarian cultural history - ' The
international situation is intensifying ' and ' Life isn ' t a cream bun ' – while the
attempt by ...
Bán , András D . ( 1999 ) Friends of England : Cultural and Political Sympathies
on the Eve of War , Hungarian Quarterly , XL , 153 , Spring , 30 - 9 . Bánffy ,
Miklós ( 2001 ) They Were Divided . London : Arcadia Books . Barabas , Tamás (
1953 ) ...
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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