Representations of social inequality in 21st century global art cinema

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dc.contributor.authorKalmár, György
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 inequal- ities is less prevalent in Hungary (and generally in Eastern Europe), but there are several key researchers and publications, mostly around the Romakép Műhely (Ro- maImage 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 Ro- makép 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 of- ten 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 in- clude "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 Imag- inary 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 Cri- sis: 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.
dc.identifier.urihttp://hdl.handle.net/2437/327457
dc.language.isoenhu_HU
dc.publisherDebreceni Egyetemi Kiadóhu_HU
dc.publisher.placeDebrecenhu_HU
dc.titleRepresentations of social inequality in 21st century global art cinema hu_HU
dc.title.subtitleIn 21st century global art cinemahu_HU
dc.typeBookhu_HU
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