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Béla Tarr is probably the most paradoxical figure in contemporary Hungarian cinema. His artistic trajectory shows a movement from documentary style realism (Family Nest, 1979) towards more modernist cinematic practices (Satan’s Tango, 1994, Werckmeister Harmonies, 2000, and The Man from London, 2007). A major celebrity in the global film culture that prides itself in being transnational, international, and in crossing linguistic and ethnic boundaries, Tarr has consistently found himself on the fringes of the Hungarian cultural and political establishment. In this study Tőke considers Tarr’s films and public persona as catalysts in the debates about what constitutes “Hungarian cinema” in a globalizing world from the 1970s until today.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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