Formations of Masculinity in Post-Communist Hungarian Cinema : Labyrinthian Men / by György Kalmár.
2017
PN1993-PN1999
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Title
Formations of Masculinity in Post-Communist Hungarian Cinema : Labyrinthian Men / by György Kalmár.
Author
Kalmár, György, author.
ISBN
9783319636641
3319636642
9783319636634
3319636634
3319636642
9783319636634
3319636634
Published
Cham : Springer International Publishing : Imprint : Palgrave Macmillan, 2017.
Language
English
Description
1 online resource (XXIV, 164 pages 28 illustrations in color.) : online resource
Item Number
10.1007/978-3-319-63664-1 doi
9783319636634
9783319636634
Call Number
PN1993-PN1999
Dewey Decimal Classification
791.430943909045
Summary
This book investigates the formations of masculinity in Hungarian cinema after the fall of communism and explores some of the cultural phenomena of the years following the 1989 regime change. The films explored offer a unique perspective encompassing two entirely different worlds: state socialism and neoliberal capitalism. The films suggest that Eastern Europe is somehow different than its western counterpart and that its subjects are marked by what they went through before and after 1989. These films are all remembering, interpreting, picturing, marketing and trying to come to terms with this difference--with the memory and effects of state-socialism. In looking closely at the films' male figures, one may not only get a glimpse of the dramatic changes Eastern European societies went through after the fall of communism but also see the brave new world of global neoliberal capitalism through the eyes of the Eastern European newcomers.
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Print version: 9783319636634
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Table of Contents
1. Introduction
2. The labyrinth principle: Figures of entrapment in Hungarian art-house cinema
3. Historical ruptures and ironic masculinities. (Moscow Square. Ferenc Török, 2001)
4. Men on the margins of history. (Hukkle. György Pálfi, 2002)
5. Just the Wind. Benedek Fliegauf, 2012)
9. Conclusions.
2. The labyrinth principle: Figures of entrapment in Hungarian art-house cinema
3. Historical ruptures and ironic masculinities. (Moscow Square. Ferenc Török, 2001)
4. Men on the margins of history. (Hukkle. György Pálfi, 2002)
5. Just the Wind. Benedek Fliegauf, 2012)
9. Conclusions.