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001-es BibID:	BIBFORM109049
Első szerző:	Kalmár György (filozófus, filmesztéta, irodalmár)
Cím:	Angry Old Men in Post-Crisis European Cinema / Kalmár, György
Dátum:	2020
ISSN:	2066-7779
Megjegyzések:	The paper explores the representation of ageing white men in 21stcentury European art cinema in the socio-cultural context of the series of crises that European societies had to face in the first decades of the new millennium. In Europe ageing is a growing concern, which already influences economic productivity and further endangers the welfare system. Ageing white men, who used to belong to the hegemonic majority of society during their active period, are often disoriented and frustrated by rapid technological development, social changes, shifts in social values or the failures of the welfare system. This paper, through the analysis of Tyrannosaur (Paddy Considine, 2011), I, Daniel Blake (Ken Loach, 2016) and A Man Called Ove (Hannes Holm, 2015), explores the ways these issues are represented in contemporary European cinema. The films of this period often depict the disappearance of an old life-world, together with its old sense of community and its old types of men. Thus, these films tend to be critical of globalized modern societies, and often reveal both the vulnerability and the potential destructiveness of these vanishing masculinities.
Tárgyszavak:	Bölcsészettudományok Irodalom- és kultúratudományok idegen nyelvű folyóiratközlemény külföldi lapban folyóiratcikk masculinity crisis old age white men
Megjelenés:	Acta Universitatis Sapientiae: Film and Media Studies. - 18 : 1 (2020), p. 27-56. -
Pályázati támogatás:	Bolyai János Kutatási ösztöndíj Egyéb ÚNKP Egyéb
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001-es BibID:	BIBFORM108960
Első szerző:	Kalmár György (filozófus, filmesztéta, irodalmár)
Cím:	Recontextualizing Son of Saul: Masculinity in Totalitarian Spaces in Hungarian Film History / Kalmár, György
Dátum:	2022
ISSN:	2065-5924 2066-7779
Megjegyzések:	As a result of its radical approach to the topic of the Holocaust, as well as due to the long list of prestigious prizes it won, Son of Saul (Saul fia, 2015, directed by László Nemes Jeles) has put the relation between Eastern European societies and totalitarianism in the centre of public and academic discourse. Though most reviews and articles placed the film in the history of Holocaust-representations, this is not the only context in which the film can be understood. In the present article I argue that Son of Saul can also be read outside (or at least at a distance from) the context of a Holocaust-film, as it also belongs to another, quite different and internationally much less known local cinematic canon. There is an unclaimed heritage behind Nemes Jeles's controversial masterpiece, a trend in Hungarian cinema that explores the crisis of masculinity in totalitarian political regimes, thereby performing an allegorical critique of modernity and modern subjectivity. My recontextualization of Nemes Jeles's work indicates the ways it is influenced by a local, Eastern European filmmaking tradition (which includes the work of his own father, the filmmaker András Jeles as well), and is supported by three interrelated conceptual focus points: a post-Foucauldian understanding of cultural and cinematic space, an awareness of the workings of modern cinematic allegory, and finally the use of male protagonists as prime sites for the inscription of social crisis and historical trauma.
Tárgyszavak:	Bölcsészettudományok Irodalom- és kultúratudományok idegen nyelvű folyóiratközlemény külföldi lapban folyóiratcikk Son of Saul Hungarian cinema totalitarianism masculinity
Megjelenés:	Acta Universitatis Sapientiae: Film and Media Studies. - 21 : 1 (2022), p. 123-145. -
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001-es BibID:	BIBFORM086733
Első szerző:	Kalmár György (filozófus, filmesztéta, irodalmár)
Cím:	Local Sensorium, Local Cinema: György Pálfi's Sensuous Body Politics / Kalmár György
Dátum:	2014
ISSN:	2066-7779 2065-5924
Megjegyzések:	György Páll 's Hukkle (2002) and Taxidermia (2006) establish markedly unique cinematic styles and richly sensorial life-worlds, which function in both l lms as counter-discourses opposing ofl cial history, hegemonic ideologies, and conventional patterns of (cinematic) understanding. In the present study I analyse the ways Páll 's l lms communicate through non-symbolic meaning, bodily discourses, and a heavy reliance on the multisensory evocation of the local sensorium (Marks) and the local habitus (Bourdieu) so as to create signil cance on the margins of established, hegemonic systems of meaning, cinema, ideology and identity.
Tárgyszavak:	Társadalomtudományok Média- és kommunikációs tudományok idegen nyelvű folyóiratközlemény külföldi lapban folyóiratcikk György Pálfi Hukkle Taxidermia local sensorium local habitus
Megjelenés:	Acta Universitatis Sapientiae: Film and Media Studies. - 8 : 1 (2014), p. 203-214. -
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