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Between 1929 and 1942, Hungary's motion picture industry experienced meteoric growth. It leapt into Europe's top echelon, trailing only Nazi Germany and Italy in feature output. Yet by 1944, Hungary's cinema was in shambles, internal and external forces having destroyed its unification experiments and productive capacity. This original cultural and political history examines the birth, unexpected ascendance, and wartime collapse of Hungary's early sound cinema by placing it within a complex international nexus. Detailing the interplay of Hungarian cultural and political elites, Jewish film professionals and financiers, Nazi officials, and global film moguls, David Frey demonstrates how the transnational process of forging an industry designed to define a national culture proved particularly contentious and surprisingly contradictory in the heyday of racial nationalism and antisemitism.
This book tells the troubled story of a period in Hungarian cinematic history during which audiences, filmmakers, critics, and officials grappled with questions surrounding Hungarian national identity.
Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939).
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The memoir that inspired Roman Polanski's Oscar-winning film, which won the Cannes Film Festival's most prestigious prize—the Palme d'Or. Named one of the Best Books of 1999 by the Los Angeles Times On September 23, 1939, Wladyslaw Szpilman played Chopin's Nocturne in C-sharp minor live on the radio as shells exploded outside—so loudly that he couldn't hear his piano. It was the last live music broadcast from Warsaw: That day, a German bomb hit the station, and Polish Radio went off the air. Though he lost his entire family, Szpilman survived in hiding. In the end, his life was saved by a German officer who heard him play the same Chopin Nocturne on a piano found among the rubble. Written immediately after the war and suppressed for decades, The Pianist is a stunning testament to human endurance and the redemptive power of fellow feeling.
In a major expansion of the conversation on music and film history, The Routledge Companion to Global Film Music in the Early Sound Era draws together a wide-ranging collection of scholarship on music in global cinema during the transition from silent to sound films (the late 1920s to the 1940s). Moving beyond the traditional focus on Hollywood, this Companion considers the vast range of cinema and music created in often-overlooked regions throughout the rest of the world, providing crucial global context to film music history. An extensive editorial Introduction and 50 chapters from an array of international experts connect the music and sound of these films to regional and transnational issues—culturally, historically, and aesthetically—across five parts: Western Europe and Scandinavia Central and Eastern Europe North Africa, The Middle East, Asia, and Australasia Latin America Soviet Russia Filling a major gap in the literature, The Routledge Companion to Global Film Music in the Early Sound Era offers an essential reference for scholars of music, film studies, and cultural history.
Hungarian cinema has often been forced to tread a precarious and difficult path. Through the failed 1919 revolution to the defeat of the 1956 Uprising and its aftermath, Hungarian film-makers and their audiences have had to contend with a multiplicity of problems. In the 1960s, however, Hungary entered into a period of relative stability and increasing cultural relaxation, resulting in an astonishing growth of film-making. Innovative and groundbreaking directors such as Miklós Jancsó (Hungarian Rhapsody, The Red and the White), István Szabó (Mephisto, Sunshine) and Márta Mészaros (Little Vilma: The Last Diary) emerged and established the reputation of Hungarian films on a global basis. This is the first book to discuss all major aspects of Hungarian cinema, including avant-garde, animation, and representations of the Gypsy and Jewish minorities.
The “intensely gripping story” of John von Neumann, Leo Szilard, Arthur Koestler, and six other world-renowned Hungarian Jews who fled the Nazis (The Washington Post Book World). In this book, New York Times–bestselling author Kati Marton tells the stunning tale of nine men who grew up in Budapest’s brief Golden Age, then, driven from Hungary by anti-Semitism, fled to the West, especially to the United States, and changed the world. These nine men, each celebrated for individual achievements, were part of a unique group who grew up in a time and place that will never come again. Four helped usher in the nuclear age and the computer, two were major movie myth-makers, two were immortal photographers, and one was a seminal writer. From a Peabody Award–winning journalist and finalist for a National Book Critics Circle Award, The Great Escape is a groundbreaking, poignant American story and an important untold chapter of the tumultuous last century. “Describes the crossroads where art and politics meet, the perils of dictatorship and the horrors of war, all of it punctuated by the frantic struggle to create the atomic bomb. . . . Deserves a special place on bookshelves alongside Budapest 1900.” —The New York Times Book Review “By looking at these nine lives—salvaged, and crucial—Marton provides a moving measure of how much was lost.” —The New Yorker “[Marton has] a keen understanding of what it means to leave one’s country behind.” —The Seattle Times “A haunting tale of the wartime Hungarian diaspora. . . . Marton writes beautifully.” —Publishers Weekly (starred review) “Filled with a number of wonderful anecdotes.” —Chicago Sun-Times “An engrossing book.” —Library Journal
Presenting new and diverse scholarship, this wide-ranging collection of 43 original chapters asks what European cinema tells us about Europe. The book engages with European cinema that attends to questions of European colonial, racialized and gendered power; seeks to decentre Europe itself (not merely its putative centres); and interrogate Europe’s various conceptualizations from a variety of viewpoints. It explores the broad, complex and heterogeneous community/ies produced in and by European films, taking in Kurdish, Hollywood and Singapore cinema as comfortably as the cinema of Poland, Spanish colonial films or the European gangster genre. Chapters cover numerous topics, including individual films, film movements, filmmakers, stars, scholarship, representations and identities, audiences, production practices, genres and more, all analysed in their context(s) so as to construct an image of Europe as it emerges from Europe’s film corpus. The Companion opens the study of European cinema to a broad readership and is ideal for students and scholars in film, European studies, queer studies and cultural studies, as well as historians with an interest in audio-visual culture, nationalism and transnationalism, and those working in language-based area studies.
This volume puts to rest the myth that the Jews went passively to the slaughter like sheep. Indeed Jews resisted in every Nazi-occupied country - in the forests, the ghettos, and the concentration camps.The essays presented here consider Jewish resistance to be resistance by Jewish persons in specifically Jewish groups, or by Jewish persons working within non-Jewish organizations. Resistance could be armed revolt; flight; the rescue of targeted individuals by concealment in non-Jewish homes, farms, and institutions; or by the smuggling of Jews into countries where Jews were not objects of Nazi persecution. Other forms of resistance include every act that Jewish people carried out to fight against the dehumanizing agenda of the Nazis - acts such as smuggling food, clothing, and medicine into the ghettos, putting on plays, reading poetry, organizing orchestras and art exhibits, forming schools, leaving diaries, and praying. These attempts to remain physically, intellectually, culturally, morally, and theologically alive constituted resistance to Nazi oppression, which was designed to demolish individuals, destroy their soul, and obliterate their desire to live.