Body, gender,
territory
Edina Hatalyák: Kim Ki-duk: Bin-jip. The haunting vision of the body
Kim Ki-duk's camera intends to tell the story of the
(filmic) body, which it can never fully grasp within the structure of cinema.
Neither filmic body nor filmic space is homogenous, since both carry the
possibility of the encounter with the Other, with another medium. This
masterpiece of self-reflexive cinema represents a unique encounter between the filmic I and the photographic Thou. Bin-jip's
camera reflects on the movements which turn Kim Ki-duk's film into an allegory
of reading films. Besides, the encounter between the above mentioned two
mediums, that is photography and film, gives way to some reflections on Maurice
Merleau-Ponty's phenomenological notions of the body and of visibility. Kim
Ki-duk's camera pans what Merleau-Ponty calls anonymous Visibility, in other
words visible space. The director intends to "draw" with his filmic images
Merleau-Ponty's notion of the Flesh, in which all relations are based on the
bodily self-relation of the I to itself.
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Annamária Hódosy: A skirt and two pairs of trousers. Homosocial
alternatives on film
The study examines the concept of homosociality in
four films - The Crying Game, A touch of Mink and two versions of Robinson Crusoe - that offer variations
of the ambivalent bonding between men as analyzed by Eve Sedgwick. Although
very different in every other respects, these films all build their narratives
on a love triangle including one woman and two men, where the relationship
between the males is not the customary rivalry and seems to problematize the
boundary between homosexuality and heterosexuality. Whether drama, comedy or
adventure story, these narratives highlight how heteronormativity is
constructed by inserting female intermediaries between the protagonist men,
even when the female party is purely metaphorical.
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Tamás Juhász: A Foreign Woman in Foreign Texts. Hajdu Szabolcs's Bibliotheque Pascal and the Perspective
of European Post-Colonialism
This paper aims at establishing a complex intertextual
link connecting Bibliotheque Pascal,
regarded by many as quintessentially Central-European, and the phenomenon of
post-colonialism, even if colonization is predominantly associated with
non-European territories. Manifesting itself in the broader categories of
gender, narration and cultural geography, this analogy permits the exploration
of such phenomena as, for example, slave narratives, oral testimonies, double
colonization, and what Deleuze and Guattari describe as minor literature (littérature
mineure).
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Psychoanalytic,
motivic
György Kalmár: Subject constructs on Elm
Street
The article undertakes a double task. On the one hand
it performs a psychoanalytical study of Wes Craven's horror classic, A
Nightmare on Elm Street (1984). On the other hand, it attempts a critical
rethinking, a propos of the film, of
some basic concepts of psychoanalytic film theory, especially regarding the
theory of the subject of horror. The analysis of the film takes the reader on a
tour that leads to a number of insights about the subject of horror, insights
that are inspired by Lacan, but seem 'less Lacanian' than the canonized ones
(and maybe more Deleuzian or Derridean 'in spirit').
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Pál Z. Szabó: This
is not a mere gun. Levels of reality in Buńuel's films
The aim of the
study is to contribute to a nuanced understanding of psychoanalytical film
analysis. Its actuality is given by the example of Louis Buñuel's Las Hurdes, usually considered as a
documentary. This genre plays a special importance, since due to the expansion
of 3D technology the illusionism of the moving picture has grown, while the importance
of the motion picture as the means of artistic representation has been
diminished by the entertaining industry. The documentary film as an artistic
form, in contradiction with the false image of the alternative realities
created by fiction forms, theoretically preserves the possibility of
confronting reality. At the same time, documentary film is a double-edged
weapon: it is equally suitable for the unprejudiced presentation of reality as
well as for the manipulation of the picture of reality. Referring to the above
mentioned ideas, our attention is called to the analysis of Buñuel's film,
using, among others, psychoanalysis.
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Miklós Sághy: The Adaptation as the
unconscious of the text
This
paper focuses on the interrelations between a short story by Géza Csáth, Anyagyilkosság [Matricide], first published in
1908, and its film adaptation Witman
fiúk [Witman Boys], directed
by János Szász. In my analysis I try to show that not only does the film follow the original storyline very
closely, but it also elaborates the motive structure behind the superficial and
minimalized narrative. In my opinion, the film by Szász, through
cinematographic language, formulates the psychoanalytic substructure of the act
of matricide depicted in the short story.
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Sinbad
Erika Fám:
A picture journey. Inste picture and inset time - games of Chronos in Zoltán
Huszárik's Sinbad
Zoltan Huszárik´s Sinbad is one of
the few Hungarian films that have
a special visual and medial
diversity. It addresses the issue of mediality with the
particular form of the self-reflexive
film, utilizing the full potential of
intermediality. This film is a
medial projection of the very varied
forms of pictures. Photos, paintings,
frescoes, drawings, films, tapestries appear
as integral parts of the film
image, the medial differences are strengthening the co-existence of the images. The study wants primarily to illuminate the
visual, film-visual
aspects of Huszárik's films, through an examination of the medial interferences, analogies, visual integrations,
transplantations of pictures, attempts to get the content of Krúdy's world, and the way sailors experience
time.
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Imre Vígh: Sinbad's
memory technique
This essay
focuses on the memory technique of Sinbad,
a Hungarian feature film, released in 1971. In the author's opinion the film is
approachable with the same theories and ideas that readers can use when
analyzing Gyula Krúdy's short stories. This thesis is supported primarily by
Henri Bergson's ideas on remembrance and Tibor Gintli's script based on The Youth of Sinbad by Gyula Krúdy. The
essay sketches the theoretical frame in connection with the short stories, then
applies them in understanding the film adaptation. Finally, the author
concludes that there are concepts that prove more relevant for the study of the
film than others.
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Student's workshop
Gábor Bakos: The objectified space art of Erzsébet Schaár
Sculptures by Erzsébet Schaár, which represented an
original style in the 1960s, are compared in the article to the space
arrangements in Alain Resnais' Last Year
at Marienbad. The Hungarian artist was significantly influenced by French
cinema, its abstract visual style combining art, architecture and film. The
comparative analysis carried out in this study is supported by the idea that in
the late modernist art of the 1960s the art of modeling was renewed through the
characteristics of film, such as the dynamics of movement, the sense of time filling
space (possibilities of creating space based on visual and tactile stimuli),
and providing the sense of invisible time through the virtual creation of
space.
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Gergely Sándor Birkás: The fusion of film and videogame in contemporary
visual culture
Within the scope of just a few
years, videogames have become the experimental ground for contemporary visual
culture. The first section of the study points out the significance of the fact
that digital technology is expanding and that this entails a homogenizing
effect. The background technology of videogames may function as a multicolored
mixture. The next section deals with the topic of intermediality: after an
overview it labels digital contents based on Katalin Sándor's system. As a next
step, the article examines the new possibilities of narration within the
digital context, followed by the discussion of the relationship between
simulation and narrative. Following the discussion of theoretical issues, the
essay presents the increasingly close relations and practical ties between the
film industry and the videogame industry. As a last step, the essay focuses on
attributes of videogames that address different types of recipients (viewers
and users) based on their experience and activity.
In order to break to the
center of the popular culture preferring narratives, video games had to
incorporate traditional techniques of telling stories. Recently this has been
surpassed by options that provide new solutions for telling stories, making the
user feel more deeply involved in the narrative.
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