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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Not surprisingly , the Communists were banned outright ; Social Democrats ,
however , were allowed to participate in political life , though at a price . In 1921 ,
they gave Prime Minister István Bethlen an undertaking not to organise in the ...
8 per cent , Social Democrats 17 . 4 per cent , and the Communist Party 17 per
cent ( Swain 1992 : 36 ) . By prior agreement ( and Soviet pressure according to
some ) , all the major parties joined forces in a coalition government . Although
The Communist Party production unit was Mafirt , while the Social Democrats
was called Orient . Appropriately the Peasant Party named their unit Sickle (
Sarló ) and the Smallholders used the rather grand title of Progress ( Haladás )
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Vista previa limitada - 2003