A Companion to Eastern European Cinemas by Anikó Imre

By Anikó Imre

A significant other to japanese ecu Cinemas showcases twenty-five essays written through proven and rising movie students that hint the background of jap ecu cinemas and supply an updated review of post-socialist movie cultures.

  • Showcases severe old paintings and updated exams of post-socialist movie cultures
  • Features attention of lesser recognized parts of research, similar to Albanian and Baltic cinemas, well known style movies, cross-national distribution and aesthetics, animation and documentary
  • Places the cinemas of the zone in a ecu and international context
  • Resists the chilly battle class of japanese eu cinemas as “other” paintings cinemas by way of reconnecting them with the most circulate of movie studies
  • Includes dialogue of such movies as Taxidermia, El Perro Negro, 12:08 East of Bucharest gigantic Tõll, and Breakfast at the Grass and explores the paintings of administrators together with Tamás Almási, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej ?u?awski, and Karel Vachek among many others

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Kálmán has become a monster, both physically and morally. Gizi has left him (we glimpse her on television, as the coach of the American Olympic speed-eating team). Now Kálmán is so bloated and enormous that he can no longer move. He has become little more than an obscene mountain of flesh. He sits in his chair watching speed-eating contests on television and devouring the candy bars that Lajos brings him without even bothering to remove them from their wrappers. He alternately feels sorry for himself and boasts that he is still the champion he once was.

The contestants chew and swallow this stuff as the crowd roars and the commentator delivers a breathless spoonful-by-spoonful account of the match. Then, between rounds, in order to make room for more, the contestants puke it all up again, in flows of half-digested gruel. The camera seems to dote on these displays. It moves in lengthy, fluid shots, panning horizontally past all the competitors, or circling around Kálmán. These mobile long-takes are strikingly different from the fixed shots and dense montage of the movie’s opening section.

Lajos does not seem to have much of a life. Every day he follows the same routine. After completing his meticulous taxidermical labors and shutting up his shop he goes to the supermarket. He buys the same items, in the same quantities, every day – 30 kilos of margarine and 800 candy bars – at a total cost of HUF 38 526. At the checkout counter, he asks the cashier for a date. indd 29 7/4/2012 5:10:27 AM 30 Steven Shaviro reject his proposition; instead, she simply ignores what he says and informs him of what he owes.

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