Papers by Andrea Virginás
Springer eBooks, Dec 1, 2023
Hungarian Studies Yearbook
Historical film – a film genre supported in the Cold War era – has re-emerged in the 21st century... more Historical film – a film genre supported in the Cold War era – has re-emerged in the 21st century in Eastern European cinemas, its success signalled by popularity, dedicated state financing funds or political support. This article frames the phenomenon within the Assmannian model of three communicative generations, suggested to be interlinked on the level of both the creative staff and the audience of Eastern European historical films. Based on box-office data of the Lumiere Database of the European Audiovisual Observatory, and research referring to further elements of canonization, it is argued that titles such as Polish Katyn (2007), Romanian Aferim! (2015) or Hungarian Bet on Revenge (2016) – the first majority production historical films to achieve significant audience, and, consequently, critical success in their domestic markets in the 21st century – signal a successful collective memory-work process. While in the major Polish market this may be inscribed within the three comm...
Edinburgh University Press eBooks, Apr 12, 2019
Ekphrasis. Images, Cinema, Theory, Media
The Palgrave Handbook of Intermediality
Popular Cinemas in East Central Europe
A literary pattern-fundamental foremost in Edgar Allan Poe's novels-indicates the birth of the ge... more A literary pattern-fundamental foremost in Edgar Allan Poe's novels-indicates the birth of the genre built up by the sequences as follows: the enigmatic crime, succeeded by the factual and logical investigation for a murderer and the coexistence of the detective-murderer-narrator pattern. As keszthelyi Tibor sees it: ,,...there is no track of a valued custom in the case of this genre in our literature-perhaps only Rejtő Jenő could attain a semi-official writer status with his "legionary" novels-two decades after his death. Therefore it is excluded that the structure of our literary canons could contain the possibility of this "honorable" category.
Szociológiai munkájukban, amely a Posztmodernizáció (Postmodernization) címet viseli, Crook, Paku... more Szociológiai munkájukban, amely a Posztmodernizáció (Postmodernization) címet viseli, Crook, Pakulski és Waters elzárkóznak attól, hogy a modernitást és a posztmodernitást elkülönülő korszakokként gondolják el, ehelyett inkább párhuzamos folyamatokként próbálják őket leírni: „ezért tehát azokra a változási folyamatokra koncentrálunk, amelyek létrehozzák a posztmodern társadalmi formákat, azaz a posztmodernizáció folyamataira inkább, mintsem egy új társadalom víziójára” (Crook, Pakulski és Waters 2)1. Ezen idézet szellemében dolgozatomban arra teszek kísérletet, hogy a változás (hasonló) folyamatait írjam le irodalmi és filmes alkotásokban, olyan folyamatokat, amelyek előhívják a modern–posztmodern fordulat kritikai narratíváját, mihelyst értelmezni próbáljuk őket. A fordulatnak két aspektusa válik további vizsgálat tárgyává: feltéve, hogy a modern(izmus) és a posztmodern(izmus) két egymáshoz kapcsolódó művészettörténeti korszak, a két paradigma szimultán érvényesülésének sajátos/egy...
Beata Hock. Gendered Artistic Positions and Social Voices. Politics, Cinema and the Visual Arts i... more Beata Hock. Gendered Artistic Positions and Social Voices. Politics, Cinema and the Visual Arts in State-Socialist and Post- Socialist Hungary. Stuttgart: Franz Steiner Verlag, 2013. 284 oldal. ISBN-10: 3515102094. ISBN-13: 978-351510209
Kortárs kelet-európai nő-képek: irodalmi és filmes példák 1 Kutatásom a kortárs Erdélyhez/Romániá... more Kortárs kelet-európai nő-képek: irodalmi és filmes példák 1 Kutatásom a kortárs Erdélyhez/Romániához, és következésképp Kelet-Európához (is) kötődő irodalmi és filmes munkákat kezel alapanyagként. Célkitűzése ezen alkotások értelmezése a nemzeti, tudattalan allegória, valamint a trauma kultúrája fogalmak által meghatározott szempontrendszer szerint. Kulcsszavakként a transznacionális, valamint a multimediális említhetőek, módszertanom pedig interdiszciplináris, mivel az irodalmi és filmes narratológia, az ikonográfia, a trauma-reprezentáció és a verbális, valamint mozgóképes allegória elméleti megközelítéseit használja, karöltve a nőiség reprezentációjának a vizsgálatával. 2 1 A tanulmány megírását az MTA Domus Hungarica 2012-2013-as szülőföldi ösztöndíjtámogatása tette lehetővé. 2 A tanulmány gondolatmeneteinek részei más szövegekben is olvashatóak: Virginás 2008 (az irodalmi elemzések legelső, rövid változata); Virginás 2011 (az irodalmi elemzések bővített változata), Virginás (2013) (a filmelemzések legelső változata), Virginás 2014 (az allegória-és trauma-elméletek női alakokra és filmekre való, kibővített alkalmazása).
We have a tutorial for every problem we face, every work that needs tending to. Academic life is ... more We have a tutorial for every problem we face, every work that needs tending to. Academic life is no exception, with the 2021 autumn televisual series The Chair actually a twofold tutorial. Amanda Peet and Julia Wyman's creation is a funny and explicit introduction to departmental and faculty houseworkbe it related to administration or human resource and/or office room-while also offering an interesting model of tackling academic labour from within the global media and film industry. One needs only a step back, however, to ask for a further level of introspection when the media and film industry turns its gaze inwards, to offer tutorials in the vein of The Chair about its own
European Cinema in the Twenty-First Century, 2020
In order to highlight recent directions in European film culture, this chapter examines the regio... more In order to highlight recent directions in European film culture, this chapter examines the regional aspect of Eastern European cinema by focusing on two of its small- to medium-sized neighbouring industries, those of Hungary and Romania, while presenting a comparative analysis of one film from each of the industries. The Oscar-winning Hungarian Son of Saul (Laszlo Nemes 2015) and Romanian Berlin Bear-winning Aferim! (Radu Jude 2015) each gathered the largest domestic audience numbers of their respective nations in 2015, with small national characteristics, European arthouse allegiances and Hollywood influences at work simultaneously, suggesting a process based on a meso-level forging of apparently disparate features and creating a fertile ground of regional linkages and synchronicities.
Cultural Studies Approaches in the Study of Eastern European Cinema represents the materializatio... more Cultural Studies Approaches in the Study of Eastern European Cinema represents the materialization of a moment that started in 2014 with the 12th conference of the European Society for the Study of English/ESSE, which took place in Slovakia. As the editor, Andrea Virginás, participated in a panel named “The use of Cultural Studies Approaches in the Study of Eastern European Cinema”, she was suggested the idea of a possible volume on that topic. Hence, the book under review is a collection of 12 case studies of post-1989 national cinemas such as Croatian, Hungarian, Polish, Serbian, Slovakian, Slovenian and Romanian. The Eastern European film and cinema are generally subsumed within a postcolonial reading of the New Wave Cinema. Using this postcolonial framework the authors rethink national cinematic canon and present the various aspects of the ”spatial”, the ”bodily” and the ”memory turn” as represented on screen. The articles work on a double concern; on the one hand, they follow t...
Acta Universitatis Sapientiae: Film and Media Studies, 2009
Comunicacion Y Sociedad, 2020
From a sociological point of view, this is a truly challenging time: a time of 'revelation... more From a sociological point of view, this is a truly challenging time: a time of 'revelation' as well as possible 'revolution', capable of revealing many of the pathologies of our lifestyle The Coronavirus crisis has exposed the way our society works in a sort of a global social experiment, which provides the opportunity to question many of the categories and paradigms of our disciplines, as well as our way of life More profoundly, the virus has exposed the structural tensions at the basis of our social, economic, political life Our duty as intellectuals, as teachers, and as academics is today to find a way to inhabit this tension in a more integral, inclusive, fair way rather than to dream to solve it by removing or suppressing one of the aspects at play It is therefore necessary to explore the many possible ways to exit this situation, transforming this crisis into an opportunity for positive change This polyphonic article, stemming from a moment of common discussion...
Acta Universitatis Sapientiae: Film and Media Studies, 2011
Presupposing that historical and generational resemblances allow for a joint reading of their fi ... more Presupposing that historical and generational resemblances allow for a joint reading of their fi lms, postcommunist Hungarian and Romanian (also nicknamed “New” and “New Wave”) directors’ fi lms are examined (Radu Muntean, Szabolcs Hajdu, Attila Gigor). The proposal of allegorical reading is made, with specifi c fi lmic locuses highlighted as creating cinematic allegories out of (graphic) isolation and intermedial mixes.
Reflecting on processes of (post)modernization in the crime and detection genre resulted in an ex... more Reflecting on processes of (post)modernization in the crime and detection genre resulted in an examination of artistic canons, completed with an analysis of changes in gender representations and poetical-medial alterations surfacing in novels and films. The idea that emerged as the most widespread (post)modern characteristic in my research corpus can be summarized as follows: the process of human representation achieved through media technologies is of a “deadly” nature. It is therefore by no means accidental that along the axis from the modern to the postmodern the genre of crime fiction is showing more and more medially (self)-conscious moments, segments and story lines, as these are potential “exits” towards murders and crimes to be committed. While narratives, photographs, letters and moving images are apparently transparent and can serve as traces and clues in modern(ist) detection (although they don't always do), in the postmodern(ist) paradigm they will lead to the identi...
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Papers by Andrea Virginás