The boundaries of creativity – attempts at reinventing the screenplay and the figure of the screenwriter in the Hungarian cinema after 19561

IF 0.3 0 FILM, RADIO, TELEVISION Studies in Eastern European Cinema Pub Date : 2021-02-04 DOI:10.1080/2040350X.2021.1877077
Patrik Tamás Mravik
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Abstract

Abstract Why Are Hungarian Films Bad? This oft-quoted question was the title of a film, released in 1964, thematizing the unsolved and confused conditions in Hungarian cinema. This study analyzes the discourse which tried to interpret this creative crisis, as well as attempts to rethink and reorganize the practices of screenwriting after 1956. I will then enumerate the main ideological, censorial and personal issues of the centralized development of screenwriting inherited from the Stalinist era. I consider Why Are Hungarian Films Bad? a contribution to the discourse. After analyzing the debate on the reformation of screenwriting, I will show how theories emerging in the late 1950s and early 1960s created a new frame for the screenwriting practice of the subsequent decades.
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创造力的边界-重新发明剧本的尝试和19561年后匈牙利电影中编剧的形象
为什么匈牙利电影不好?这个经常被引用的问题是1964年上映的一部电影的标题,这部电影以匈牙利电影中未解决和困惑的状况为主题。本文分析了试图解释这一创作危机的话语,并试图重新思考和重组1956年后的剧本创作实践。然后,我将列举从斯大林时代继承下来的剧本集中发展的主要意识形态、审查和个人问题。我认为为什么匈牙利电影不好?对论述的贡献。在分析了关于编剧改革的争论之后,我将展示20世纪50年代末和60年代初出现的理论如何为随后几十年的编剧实践创造了一个新的框架。
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来源期刊
Studies in Eastern European Cinema
Studies in Eastern European Cinema Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.50
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0.00%
发文量
34
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