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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Some of the previous concerns of Hungarian filmmaking are still present ; Máté ,
for example is a proud and articulate advocate of the co - operative while Mari ' s
father favours private holding . To strengthen his position , Pataki attempts to ...
In 1966 , in his second feature , Szabó was to focus on the notion of father and
fatherhood , a theme already touched on in his previous film ( whose hero ,
Jancsi , is fatherless ) . In Father ( Apa ) , Szabó examines a boy ' s life and his
TE HER LE Father ( Apa ) , directed by István Szabó , 1966 . strong leaders ,
Stalin , Churchill , Roosevelt - people make fathers out of their leaders – or vice -
versa ? ( Szabó quoted in Jaehne 1978 : 32 ) Szabó explained his point in more
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Revolution Reaction and the Talkies
Quotas Foreigners and Coproductions
Derechos de autor
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Cinema of the Other Europe: The Industry and Artistry of East Central ...
Vista previa limitada - 2003