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引用次数: 0
摘要
摘要本文探讨了在匈牙利晚期的社会主义电影中，社会主义建筑作为位置和视觉文本是如何作为政治批评工具发挥作用的。通过对Péter Bacsó的《半空中的钢琴》（Zogora A levego“ben，1976）、Béla Tarr的《家庭巢穴》（Családi tu”zfészek，1977）和《序言人物》（Panelkapcsolat，1982）、Péter Gothár的《无价的一天》（Ajándék ez A napp，1979）和György Szomjas的《钻墙者》（Falfúró，1985）中社会主义阵营的生存空间的文本分析，本研究着重探讨了电影中家庭空间的消失，正如下文所述，这与家庭的解体相对应，也与一个连贯的社会主义社会的失败相对应。
Breaking the Walls. The Representation of Domestic Space in Hungarian Panel-Films
Abstract The paper investigates how socialist architecture – both as location and visual text – functions as tool of political criticism in the late socialist cinema of Hungary. Through the textual analysis of the living space in the socialist bloc in Péter Bacsó’s A Pianino in Mid-Air (Zongora a levego”ben, 1976), Béla Tarr’s Family Nest (Családi tu”zfészek, 1977) and Prefab People (Panelkapcsolat, 1982), Péter Gothár’s A Priceless Day (Ajándék ez a nap, 1979) and György Szomjas’s Wall Driller (Falfúró, 1985), the study dwells on the elimination of domestic space in the films which, as argued below, corresponds to the families’ disintegration and so to the failure a coherent, socialist society.
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