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 type of ending – shots of the group or community coming together ,
accompanied by singing and stirring music – was typical of the period and almost
de rigueur for films depicting factory or farm life . The passage of the film from pre
Figures are frequently shot against this wide expanse , isolated and tiny , under a
blazing sun that bleaches much of the landscape and emphasises the stark white
buildings . There is little music , and the dialogue is often sparse and in ...
Again shot in black - and - white in a yet another bleak setting , Werckmeister
Harmonies is visually stunning and even more unsettling than his previous
offerings . Although this film has a much more straightforward sense of narrative
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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