El arte de la subversión
Culturas cinematográficas del súper 8 en la Hungría de principios de los ochenta
Bibliographic Data
| ID | 21659016 |
|---|---|
| Authors | Sonja Simonyi (corresponding author) |
| Year | 2022 |
| Issue | 55 |
| Pages | 67-90 |
| Publication date | 2022-12-25 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Secuencias Revista de Historia del Cine (JOURNAL) |
| Journal identifiers | ISSN: 1134-6795 • E-ISSN: 2529-9913 |
| Publisher | Servicio de Publicaciones de la Universidad Autonoma de Madrid (PUBLISHER) |
| DOI | 10.15366/secuencias2022.055.003 |
| OpenAlex | W4313826679 |
| Language | ES |
| References cited | 8 |
The Balázs Béla Studio uniquely defined filmic experimentation in 1970s socialist Hungary, allowing it to thrive mainly on 35mm and 16mm. By the 1980s, younger generations turned away from these formats towards Super 8. This paper explores the socio-cultural and institutional contexts of the late socialist period within which this change occurred. It does this by focusing on two diverging filmmaking milieus that used Super 8 in the early 1980s: a film competition by the Indigo Group, a collective of artists inspired by the leading neo-avant-garde figure Miklós Erdély, and a group of rebellious, marginalized young filmmakers active within the K?bánya Amateur Film Studio. While these alternative film experiments differed widely in both artistic interests and filmmaking styles, considering them together allows us to understand the varied role Super 8 played in carving out degrees of independence in (film) cultural milieus during socialism's final decade
Art · Humanities · Political science · Gender and Women's Rights · Historical and Political Studies · Hungarian Social, Economic and Educational Studies
| Highly cited | No |
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