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Representations of social inequality in 21st century global art cinema

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dc.contributor.authorKalmár, György
dc.contributor.editorseriesGyőri, Zsolt
dc.contributor.editorseriesKalmár, György
dc.contributor.proofreaderBülgözdi, Imola
dc.date.accessioned2022-01-07T10:40:41Z
dc.date.available2022-01-07T10:40:41Z
dc.date.issued2021
dc.descriptionThe study of representations of contemporary ethnicity- or race-based inequalities is less prevalent in Hungary (and generally in Eastern Europe), but there are several key researchers and publications, mostly around the Romakép Műhely (RomaImage Workshop). From the recent English language publications of this much devoted group, Andrea Pócsik's "Screened Otherness: A Media Archaeology of the Romani's Criminalization" (in Regimes of Invisibility in Contemporary Art, Theory and Culture, 2017) and András Müller's "Gubera-Cinezine. Inforg films at the Romakép Workshop" (in the edited volume The Freedom of Experimentation. Inforg Studio 2000-2010, 2021) must be mentioned. As some of the above publications indicate, the study of social inequalities often intersects with Eastern European studies, which several of our previous ZOOM volumes have tackled in one way or another. Zsolt Györi's work on housing estate films is a fine example of this trend. His most relevant publications in this field include "Concrete Utopias: Discourses of Domestic Space in Hungarian Cinema" (in Cultural Studies Approaches in the Study of Eastern European Cinema, 2016) and "Young Mothers, Concrete Cages: Representations of Maternity in Hungarian Housing Films from the 1970s and 1980s" (in Georgaphies of Affect in Contemporary Literature and Visual Culture: Central Europe and the West, 2021). My Romanian colleague, Constantin Parvulescu, has also been a close companion in organising research groups and projects about cinematic representations of social inequality. His "Narratives of Cruel: Cristian Mungiu's Cinematic Work and the Political Imaginary of East-Central Europe" (in Res Historica, 2020) and "Labour and Exploitation by Displacement in Recent European Film" are especially relevant for the present project. The edited volume in which his latter article was published, Cinema of Crisis: Film and Contemporary Europe (Edinburgh UP, 2020) contains two other related chapters by colleagues associated in some ways with our research group, these are "Frontlines: Migrants in Hungarian Documentaries in the 2010s" by Lóránt Stöhr and "The Double Form of Neoliberal Subjugation: Crisis on the Eastern European Screen" by Anna Bátori.en
dc.description.physical239*167*8
dc.description.stockforgalmazott
dc.description.weight269
dc.format.distributionnyomtatott (puha kötés)
dc.format.extentpage145 (nyomtatott)
dc.format.extentpage147 (pdf)
dc.identifier.isbn978-963-318-982-5
dc.identifier.issnseries2063-8450
dc.identifier.urihttp://hdl.handle.net/2437/327457
dc.language.isoen
dc.publisherDebreceni Egyetemi Kiadó – Debrecen University Press
dc.publisher.distributorDebreceni Egyetemi Kiadó – Debrecen University Press
dc.publisher.placeDebrecen
dc.relation.ispartofseriesZoom ; 8.
dc.rights.ownerDebreceni Egyetemi Kiadó – Debrecen University Press
dc.subject.mabMűvészetek::Film- és videóművészet
dc.titleRepresentations of social inequality in 21st century global art cinema
dc.title.subtitleIn 21st century global art cinema
dc.typekönyvhu

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