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Formations of masculinity in post-co...

Kalmar, Gyorgy.

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Formations of masculinity in post-communist Hungarian cinema = labyrinthian men /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Formations of masculinity in post-communist Hungarian cinema/ by Gyorgy Kalmar.
Reminder of title:	labyrinthian men /
Author:	Kalmar, Gyorgy.
Published:	Cham :Springer International Publishing : : 2017.,
Description:	xxiv, 164 p. :ill. (some col.), digital ;24 cm.
[NT 15003449]:	1. Introduction -- 2. The labyrinth principle: Figures of entrapment in Hungarian art-house cinema -- 3. Historical ruptures and ironic masculinities. (Moscow Square. Ferenc Torok, 2001) -- 4. Men on the margins of history. (Hukkle. Gyorgy Palfi, 2002) -- 5. Just the Wind. Benedek Fliegauf, 2012) -- 9. Conclusions.
Contained By:	Springer eBooks
Subject:	Masculinity in motion pictures. -
Subject:	Hungary - Social conditions - 1989- -
Online resource:	http://dx.doi.org/10.1007/978-3-319-63664-1
ISBN:	9783319636641

Formations of masculinity in post-communist Hungarian cinema = labyrinthian men /
Kalmar, Gyorgy.

Formations of masculinity in post-communist Hungarian cinemalabyrinthian men /[electronic resource] :by Gyorgy Kalmar. - Cham :Springer International Publishing :2017. - xxiv, 164 p. :ill. (some col.), digital ;24 cm.

1. Introduction -- 2. The labyrinth principle: Figures of entrapment in Hungarian art-house cinema -- 3. Historical ruptures and ironic masculinities. (Moscow Square. Ferenc Torok, 2001) -- 4. Men on the margins of history. (Hukkle. Gyorgy Palfi, 2002) -- 5. Just the Wind. Benedek Fliegauf, 2012) -- 9. Conclusions.

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.

ISBN: 9783319636641

Standard No.: 10.1007/978-3-319-63664-1doiSubjects--Topical Terms:

818450
Masculinity in motion pictures.
Subjects--Geographical Terms:

799916
Hungary
--Social conditions--1989-

LC Class. No.: PN1993.5.H8 / K356 2017

Dewey Class. No.: 791.4309439

Formations of masculinity in post-communist Hungarian cinema = labyrinthian men /
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505 0 $a 1. Introduction -- 2. The labyrinth principle: Figures of entrapment in Hungarian art-house cinema -- 3. Historical ruptures and ironic masculinities. (Moscow Square. Ferenc Torok, 2001) -- 4. Men on the margins of history. (Hukkle. Gyorgy Palfi, 2002) -- 5. Just the Wind. Benedek Fliegauf, 2012) -- 9. Conclusions.
520 $a 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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