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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Gerő , for example , held an absolutely central position , as representative of
Comintern , in Spain during the Civil War ; the likeable and popular Imre Nagy
was a leading Comintern expert on agriculture , and György Lukács was a widely
The subsidy still exists and although the amounts are small , in comparison to the
budget of an average Hollywood film , it is still significant , particularly for those
unable to find commercial backing , a problem for newcomers for example .
Some Hungarian films of the 1930s , for example The Students of Iglo ( Az Iglói
diákok , 1934 ) and Deadly Spring ( Halálos tavasz , 1936 ) , list Tobis - Klang in
their credits . The reason why a particular country ' s film industry adopts a policy
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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