Abstract
The foregoing essays on East European film raise a question that parallels the dialectic of commonality and uniqueness in the history of the region. Yvette BirĂ³ has attempted the very difficult task of generalizing about several national film traditions. Even by restricting her focus to include primarily Poland, Czechoslovakia, Hungary and Yugoslavia, Professor BirĂ³ has stepped into a controversy about the extent to which any such generalizations can be made. The discussion that follows, drawn from the proceedings of the Seattle conference, will narrow the focus still further to encompass Poland, Hungary and Czechoslovakia.
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Notes and References
Milan Kundera, The Book of Laughter and Forgetting, trs. Michael Henry Heim (New York: Knopf, 1980) p. 9.
Czesχaw Miχosz, The Captive Mind, trs. Jane Zielonko (New York: Vintage Books, 1951, 1953).
For an interesting essay on JancsĂ³â€™s films and their Hungarian context, see Lorant Szigany, ‘JancsĂ³ Country’, Film Quarterly, vol. 25, no. 4 (Fall 1972) pp. 44–50.
Czesχ;aw Miχbsz, Ziemia Ulro (The Land of Ulro) (Paris: Instytut Literacki, 1977) pp. 152–3.
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© 1983 David W. Paul
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Paul, D.W. (1983). Discussion. In: Paul, D.W. (eds) Politics, Art and Commitment in the East European Cinema. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-06734-3_5
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DOI: https://doi.org/10.1007/978-1-349-06734-3_5
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