About the Book
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 33. Chapters: Akos Rathonyi, Andras Gerevich, Andras Kovacs, Barna Kabay, Bela Balogh, Bela Gaal, Can Togay, Emeric Pressburger, Emil Martonffy, Ernest Vajda, Ferenc Andras, Ferenc Kardos, Ferenc Kosa, Ferenc Santa, Ferenc Torok (director), Frigyes Ban, Geza von Bolvary, Gyorgy Feher, Gyorgy Revesz, Gyorgy Szomjas, Gyula Gazdag, Gyula Hernadi, Gyula Maar, Ildiko Enyedi, Imre Gyongyossy, Istvan Bujtor, Istvan Gaal, Istvan Sz ts, Ivan Tors, Janos Szasz, Janos Zsombolyai, Jen Janovics, Judit Elek, Karoly Lajthay, Kornel Mundruczo, Ladislaus Vajda, Lajos Biro, Laszlo Krasznahorkai, Laszlo Szabo (actor), Laszlo Vadnay, Livia Gyarmathy, Marcell Jankovics, Maria Szepes, Marta Meszaros, Melchior Lengyel, Mihaly Fekete, Miklos Jancso, Miklos Vamos, Pal Gabor, Pal Sandor (director), Pal Zolnay, Peter Bacso, Peter Gothar, Peter Paul Felner, Peter Timar, Robert Koltai, Sandor Simo, Zoltan Fabri, Zoltan Kamondi, Zsolt Kezdi-Kovacs. Excerpt: Miklos Jancso (born September 27, 1921, Vac) is a Hungarian film director and screenwriter. Jancso achieved international prominence from the mid-1960s onwards, with works including The Round Up (Szegenylegenyek, 1965), The Red and the White (Csillagosok, katonak, 1967) and Red Psalm (Meg ker a nep, 1971). Jancso's films are characterized by visual stylization, elegantly choreographed shots, long takes, historical periods, rural settings, and a lack of psychoanalyzing. A frequent theme of his films is the abuse of power. His works are often allegorical commentaries on Hungary under Communism and the Soviet occupation, although some critics prefer to stress the universal dimensions of Jancso's explorations. Towards the end of the 1960s and especially into the 1970s, Jancso's work became increasingly stylized and overtly symbolic. Miklos Jancso was born to Sandor Jancso, a Hungarian, and Angela Poparad, a Romanian. After graduation he studied law in Pecs, receiving his degree in Kolozsvar (Cluj) in 1944. He also took courses in art history and ethnography, which he continued to study in Transylvania. After graduating, Jancso served in World War II and was briefly a prisoner of war. He registered with the legal Bar but avoided a legal career. After the war, Jancso enrolled in the Academy of Theatre and Film Arts in Budapest. He received his Diploma in Film Directing in 1950. Around this time Jancso began working on newsreel footage and reported on such subjects as May Day celebrations, agricultural harvests and state visits from Soviet overseers. Jancso first started directing films in 1954 by making documentary newsreels. Between 1954 and 1958 Jancso made newsreel shorts whose subjects ranged from a portrait of Hungarian writer Zsigmond Moricz in 1955 to the official Chinese state visit in 1957. Although these films do not reflect Jancso's aesthetic development, they gave the director the opportunity to master the technical side of film-making while also enabling him
