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György Szomjas: Vagabond • Csaba Bereczki: Életek éneke (The Song of Lives) • András Péterffy: Brassói pályaudvar (Bras¸ov Railway Station)
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Richard Strauss: Elektra • Shakespeare: Macbeth • Péter Esterházy: Rubens és a nemeuklideszi asszonyok (Rubens and Non-Euclidean Women)
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Dimitru Budrală writes a large interesting article about Astra Film Festival, a very important meeting for the cinema workers in Romania and abroad (China, Finland, Germany, Israel, Sweden, Great Britain, Hungary, USA, Holland.
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Nem Hollywood. nem színes széles vásznú. "ahogy az amcók elképzelik az európai szörnyűségeket" mozi ez -- Dénes Gábor filmje szűkszavú, kemény puritán dokumentumfilm. A Golan-filmmüzem produkturna után valódi híradás, valódi emlékezés - szerény, de tartásos emlékmű.
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The only region of East Central Europe where the Hungarian Revolution of October–November 1956 found powerful echoes was Transylvania, whose large Hungarian minority could follow events unfolding in Hungary in their own language, as Budapest-based Hungarian radio threw off the dead weight of censorship. Even before the revolution was crushed, the Romanian authorities turned the full force of their repressive apparatus, the secret police and the courts on those who dared speak out in support of the revolution, or who began to organize groups of their own to press for change in Romania. The Communist authorities did not just try to stamp out every spark of rebellion, they took the opportunity to attack the Hungarian intelligentsia of Transylvania, and break any residual resistance to Communism among the common people. In July 1959 the Hungarian-language Bolyai University in Cluj/Kolozsvár was merged with the Romanianlanguage Babeş University, and the Hungarian community lost a key institution for the survival of their language and culture. A speech by the new Hungarian Socialist Workers Party leader, János Kádár, installed by the Soviets, in Târgu Mureş/Marosvásárhely in February 1958 confirmed that the Romanian leadership now had a free hand to do what they liked with the Hungarian minority – Budapest would not speak up on their behalf in Moscow. In 1958, Soviet troops were withdrawn from Romania, as an acknowledgment of the reliability of the Romanian Communist government. The repression grew more intense. In 1960, the boundaries of the Mureş/Maros Autonomous Region were redrawn, to reduce the proportion of Hungarians in it. 19 major trials were held, of Hungarians accused of subversive activities. In one trial alone, prison sentences were issued totalling 1,200 years. 45 people were sentenced to death and over twenty executed. Dozens died in prison-camps, especially in the notorious Periprava camp in the Danube delta, as a direct result of the torture and mistreatment they received. The total number of those sentenced for political reasons in Romania between 1956 and 1961 is estimated at 10 to 15.000. The testimonies published below are extracts from the film Transylvania 1956 directed by Anna Sebõk Páskándi, photographed by Balázs Sára, produced by Gábor Sarudi, and coproduced by Quality Pictures Kft. and Duna TV in 2004. The specialist advisors were Miklós Horváth, János M. Rainer, Károly Vekov and Sándor Sára.
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A review of Euripides’ Medea directed by Marcin Wierzchowski in the Wilam Horzyca Theatre in Toruń.
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A comprehensive review on Gyöngyi Balogh's, Vera Gyürei's and Pál Honffy's A magyar játékfilm története a kezdetektől 1990-ig (The History of Hungarian Feature Films from the Beginnings to 1990).
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In order to describe some recent developments in the theatre, H.-T. Lehmann has coined the concept of 'post-dramatic theatre' ("Postdramatisches Theater", 1999). In post-dramatic theatre the written text no longer functions as the central element of a performance; moreover, this type of theatre performance is not subject to the structure and conventions of a traditional (Aristotelian) drama, such as narrative, dialogue, coherent characters, etc. The article examines what relationship this notion has with the postmodern theatre, how the concept of post-dramaticity is constructed and how it is applied to the analysis of texts for the stage. A drama text is characterized by inner theatricality, i.e. it reflects the basic structural traits of a performance (most importantly – the position of the spectator, built into the text), as well as certain theatre conventions specific to the particular era. In the article the nature of post-dramatic theatricality and the main strategies of post-dramatic texts are studied. The relevant phenomena in Estonian writings for the theatre are examined on the example of the theatre texts by stage directors Mati Unt, Tiit Ojasoo and Ene-Liis Semper, Tiit Palu, etc.
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The above interview, arranged by the Hungarian Film Union, took place in Budapest on 5 February 2008.
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László Márton: A nagyratörő (The Pretender to Greatness) György Spiró: Árpád-ház (House of Árpád) György Spiró: Ahogy tesszük (As We Do It)
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Erratum Marka Lechkiego i Sala samobójców Jana Komasy – filmy dwóch młodych reżyserów, całkowicie różne w stylistyce i tematyce – to intensywne, mocne kino wskazujące na talent autorów oraz słuch wyczulony na rzeczywistość, także tę wewnętrzną. Lechki i Komasa wkraczają w wewnętrzne światy swoich bohaterów i jednocześnie przyglądają się rzeczywistości zewnętrznej, w której ci żyją. To nie jest kino społeczne, a jednak oba filmy łączy również to, że ich bohaterowie zahaczeni są w podobnym czasie i miejscu, chociaż Polska Dominika, bohatera Sali samobójców, i Polska Michała, bohatera Erratum, to dwa różne światy.
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From the beginning of film (...), there was a division into the cinema of facts and fiction. (...) However, the notion that only documentaries are able to reproduce the reality and present the truth was a fiction itself.
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Sarbiewska analyses the visual content of Werner Herzog’s "Heart of Glass" on the example of its individual frames. Situating his work within the context of reflections on aesthetics and ontology, she points out that this type of reflection may be the key to grasping the „essence” of Herzog’s films. In line with the central idea of the article, the unique character of the ontology of Herzog’s film resides in the fact that it constitutes a synthesis of the ontology of the film image and Baroque pictures, emphasizing a coincidence of movement and stillness. The represented world of Herzog’s films has the status of a „frozen world” in which “pulsating” expression is hidden under the surface of stillness. Herzog’s shots come into being when oscillating between movement and stillness – the persistent and “non-filmic” emphasis of the moment of transition of one phase of movement into the other one not only expresses a synthesis of the two ontologies (painting and film) but constitutes sui generis the strategy of exposing an illusion of a movement continuity at the expense of presenting its aesthetic quality. Herzog’s filmmaking breaks with Bazin’s vision of the psychological genesis and development of visual arts – the image in his films does not satisfy the need to imitate movement to the extent proper to film realistic tendency. Bazin’s observation that the film delivers Baroque art from its convulsive catalepsy is significantly modified here – in Herzog’s film, the convulsive catalepsy of Baroque art is both maintained and transgressed.
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