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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In Transylvania films were frequently advertised in three languages – Hungarian ,
Romanian and German - which suggests that the early entrepreneurs made no
distinction between the various ethnic and language groups that made up their ...
The various film production units were also aligned with the political parties who
established their own companies . The Communist Party production unit was
Mafirt , while the Social Democrats was called Orient . Appropriately the Peasant
What we can be certain of is that the introduction of the NEM was a continuation
of the various societal reforms and adjustments already introduced . Nigel Swain
explains : Central planning in quantitative units was abandoned entirely .
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Revolution Reaction and the Talkies
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Vista previa limitada - 2003