To browse Academia. The analysis of Hungarian documentary, Balkan Champion Réka Kincses, demonstrates the power of the first-person documentary filmmaking in the understanding of personal and collective traumas. Balkan Champion deals with the ethnic clashes in Romania in , and their long-time effect both on the personal psyche and the collective identity of the Hungarian minority groups. In this study I show how the personal involvement of the filmmaker in the projected world of the documentary can expose the suppressed mental scars of her family and the whole ethnic and national community.
The authors of this paper, a documentary filmmaker Trencsényi and a social anthropologist Naumescu seek to explore narrative strategies and ethics of representation in European documentaries made after as well as their participatory filmmaking project developed in the wake of the refugee crisis in Hungary. Having collabor Although trauma and memory have been a focus of cultural studies for more than twenty years now, few scholarly works focus on medium-specific representations of trauma and even fewer comment on the tendency of trauma representations to be autobiographical in the twenty-first century.
Since it was established as a genre in the s, the autobiographical documentary has flourished due to the increased accessibility to recording equipment offered by technological advancement. I aim to investigate the context of creation for both films and how their form made these representations of trauma successful and unsuccessful, res These films made by women filmmakers challenge the standard tropes of war, as well as normative approaches to war cinema, by highlighting the intimate affective domain of experience, rather than large-scale narratives and collective emotions.
This article explores synergies between Hungarian critical sociology in the —70s and the documentary films made in Balázs Béla Stúdió in the same period. It treats the rationalization of social phenomena as a battle ground for meaning and claims that both representatives of the social sciences and filmmakers, on the one hand, called upon deficient social mechanisms and the inner contradictions of existing socialism and, on the other hand, pointed to the discrepancy between ideological and empirical perceptions of reality as the root cause of the crisis characterizing the consolidated Kádár regime.
The paper focuses on the long-term effects of Romanian communist natality politics and the way in which cinema was used to re-appropriate the past after the shift in political climate in However, personal attempts of recollecting the past have a unique ability to bridge the intergenerational gap and facilitate the transmission of knowledge and memories. This paper therefore presents two examples of Romanian cinema focused on the experiences of those directly affected by the family planning politics of the communist regime.
