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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14 Partly as a result of this drain of talent , the Hungarian film industry went
through a drop in production at the end of the 1930s and a decline in audiences
– figures for 1939 show a 30 to 35 per cent drop ( Sándor 1992 : 14 ) . There was
These father figures , these overbearing father figures , who were elevated over
society by the powers that be , or who foisted themselves on society , they gave
expression to some desire common to. 99 THE 1960s NEW WAVE.
The biggest overseas market for US films was , of course , Britain and the
Anglophone nations of the British Empire - Canada , Australia and New Zealand .
As an illustration of general trends , here are figures from Glancy ( 1999 : 33 ) for
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Revolution Reaction and the Talkies
Quotas Foreigners and Coproductions
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Vista previa limitada - 2003