器官捐献科普动画短片《为生命接力》——创意构思与美术设计外文翻译资料

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The Outsider Within: Beacute;la Tarr and Hungarian National Cinema

Lilla Tőke

Abstract

Beacute;la Tarr is probably the most paradoxical figure in contemporary Hungarian cinema. His artistic trajectory shows a movement from documentary style realism (Family Nest, 1979) towards more modernist cinematic practices (Satanrsquo;s Tango, 1994, Werckmeister Harmonies, 2000, and The Man from London, 2007) . A major celebrity in the global film culture that prides itself in being transnational, international, and in crossing linguistic and ethnic boundaries, Tarr has consistently found himself on the fringes of the Hungarian cultural and political establishment. In this study Tőke considers Tarrrsquo;s films and public persona as catalysts in the debates about what constitutes “Hungarian cinema” in a globalizing world from the 1970s until today.

Keywords

Beacute;la Tarr, national cinema, Hungarian cinema, minor cinema, film politics

Introduction

Lilla Tőke is Assistant Professor of English at CUNY, LaGuardia Community College. She obtained her PhD from Stony Brook University in Comparative Literary and Cultural Studies . She also has an MPhil degree in Gender Studies from the Central European University, Budapest. Her research interests revolve around Eastern European cinema, transnationalism and media studies, as well as feminist theory.

There was a lot of shit things in the cinema, a lot of lies. We were coming with some fresh new, true, real things.

Beacute;la Tarr, 1981

The renowned film critic, Jonathan Rosenbaum (1996), in a lengthy blog entry entitled “A Place in the Pantheon,” praises Beacute;la Tarr both in terms of his complex cinematography and the philosophical questions his films raise and claims that, “the breadth of [Tarrrsquo;s] canvas suits the magnitude of what he has to say.” The title of the blog clearly suggests that Rosenbaum considers Tarr as one of the living “Gods” of European filmmaking and the global art film festival scene. Bloggers, critics, and academics seem to agree as they continue to attend special screenings, get captivated by, and write at length about Tarrrsquo;s epic black and white movies, which progress at an excruciatingly slow pace and have minimalist narratives. Susan Sontag and Gus van Sant are just two of many critics who admire Tarr and describe him as someone whose films have had great influence on their thinking as well as cinema making (Williams 2003, Jones 2008). In an interview, Sontag called Saacute;taacute;ntangoacute; [lsquo;Satanrsquo;s Tango,rsquo; 1994], specifically, one of her all-time favorite movies, stating that she would be “glad to see it every year for the rest of [her] life” (Chan 2001).

Tarrrsquo;s films have circulated and won numerous awards at major art film festivals around the globe and he has been widely recognized as the Hungarian film director par excellence abroad. However, very few viewers or critics outside Hungary are aware of two important factors. First of all, Tarrrsquo;s career is very closely tied to the cultural politics of Hungary from the nineteen seventies to the present, and, second, this relationship is much more controversial than most international viewers and critics realize. Such an important oversight relating to the political background of Tarrrsquo;s work is due to the fact that, as Bill Nichols (2013: 34) astutely observes,“the international film festival circuit [often] does not tell origin stories, relying on a timeless zone oftribal culture or Third Cinemas as back up for the emergence of a modernist cinema in the West.” It is this “origin story” that I hope to reconstruct—the story that lies behind the enthusiastic celebration of Tarrrsquo;s films in the global art film festival culture. Beacute;la Tarrrsquo;s story is uniquely powerful in revealing the intricate flow of cinema between a globalized visual culture and national film practices. Further, Tarrrsquo;s story also exposes the ways in which individual artists navigate the often competitive and contentious relationship between national and global cinemas. In the following, I intend to examine Tarrrsquo;s films and public persona as catalysts in the debates about the direction of “Hungarian cinema” in a globalizing world.

Critics and cinephiles worldwide recognize Tarr as one of the very few, if not the only, Eastern European filmmakers today with a lasting legacy. Besides winning numerous awards, his films have made it onto several “best of world cinema” lists, for instance The Guardianrsquo;s “Forty Best Film Directors in the World” and also “The Best Non-English Language Films” created by film critic and blogger, Edward Copeland. In contrast, while it is true that Tarrrsquo;s work has been enthusiastically received by a small group of Hungarian academics and intellectuals, for most of his career Tarrrsquo;s films were either ignored by domestic film audiences or sparked heated critical controversies. For example, the list of “Twelve Best Hungarian Films” [Uacute;j Budapesti tizenkettő] composed by Hungarian filmmakers and critics in 2000 did not contain any work by Tarr. Moreover, he was advised on several occasions to quit making films because he was just an amateur, “a wannabe” (Kovaacute;cs 2013: 10) and unlike other internationally recognized Hungarian filmmakers, he was never invited to teach at the Hungarian Film Academy even though he taught repeatedly at the DFFB, Germanyrsquo;s most prestigious film school. One of the few committed Tarr scholars and the artistrsquo;s close friend, Andraacute;s Baacute;lint Kovaacute;cs (2013: 173) correctly points out the exiting discrepancy between Tarrrsquo;s reception in Hungary and in global and domestic film circles. However, Kovaacute;cs stops short of giving a plausible explanation for the inconsistency and what he admits is Tarrrsquo;s contentious and peripheral position in Hun

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Nanjing University of Technology

毕业设计英文资料翻译

Translation of the English Documents for Graduation Design

学生姓名： 姜丽雯 学 号 ： 1716170107

Name： Jiang Li Wen Number ： 1716170107

所在学院： 艺术设计学院

College： College of Art Design

专 业： 数字媒体艺术

Profession： Digital Media Art

指导教师： 陈岑

Tutor： Chen Cen

2020年 12 月 28 日

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The Outsider Within: Beacute;la Tarr and Hungarian National Cinema

Lilla Tőke

Abstract

Beacute;la Tarr is probably the most paradoxical figure in contemporary Hungarian cinema. His artistic trajectory shows a movement from documentary style realism (Family Nest, 1979) towards more modernist cinematic practices (Satanrsquo;s Tango, 1994, Werckmeister Harmonies, 2000, and The Man from London, 2007) . A major celebrity in the global film culture that prides itself in being transnational, international, and in crossing linguistic and ethnic boundaries, Tarr has consistently found himself on the fringes of the Hungarian cultural and political establishment. In this study Tőke considers Tarrrsquo;s films and public persona as catalysts in the debates about what constitutes “Hungarian cinema” in a globalizing world from the 1970s until today.

Keywords

Beacute;la Tarr, national cinema, Hungarian cinema, minor cinema, film politics

Introduction

Lilla Tőke is Assistant Professor of English at CUNY, LaGuardia Community College. She obtained her PhD from Stony Brook University in Comparative Literary and Cultural Studies . She also has an MPhil degree in Gender Studies from the Central European University, Budapest. Her research interests revolve around Eastern European cinema, transnationalism and media studies, as well as feminist theory.

There was a lot of shit things in the cinema, a lot of lies. We were coming with some fresh new, true, real things.

Beacute;la Tarr, 1981

The renowned film critic, Jonathan Rosenbaum (1996), in a lengthy blog entry entitled “A Place in the Pantheon,” praises Beacute;la Tarr both in terms of his complex cinematography and the philosophical questions his films raise and claims that, “the breadth of [Tarrrsquo;s] canvas suits the magnitude of what he has to say.” The title of the blog clearly suggests that Rosenbaum considers Tarr as one of the living “Gods” of European filmmaking and the global art film festival scene. Bloggers, critics, and academics seem to agree as they continue to attend special screenings, get captivated by, and write at length about Tarrrsquo;s epic black and white movies, which progress at an excruciatingly slow pace and have minimalist narratives. Susan Sontag and Gus van Sant are just two of many critics who admire Tarr and describe him as someone whose films have had great influence on their thinking as well as cinema making (Williams 2003, Jones 2008). In an interview, Sontag called Saacute;taacute;ntangoacute; [lsquo;Satanrsquo;s Tango,rsquo; 1994], specifically, one of her all-time favorite movies, stating that she would be “glad to see it every year for the rest of [her] life” (Chan 2001).

Tarrrsquo;s films have circulated and won numerous awards at major art film festivals around the globe and he has been widely recognized as the Hungarian film director par excellence abroad. However, very few viewers or critics outside Hungary are aware of two important factors. First of all, Tarrrsquo;s career is very closely tied to the cultural politics of Hungary from the nineteen seventies to the present, and, second, this relationship is much more controversial than most international viewers and critics realize. Such an important oversight relating to the political background of Tarrrsquo;s work is due to the fact that, as Bill Nichols (2013: 34) astutely observes,“the international film festival circuit [often] does not tell origin stories, relying on a timeless zone oftribal culture or Third Cinemas as back up for the emergence of a modernist cinema in the West.” It is this “origin story” that I hope to reconstruct—the story that lies behind the enthusiastic celebration of Tarrrsquo;s films in the global art film festival culture. Beacute;la Tarrrsquo;s story is uniquely powerful in revealing the intricate flow of cinema between a globalized visual culture and national film practices. Further, Tarrrsquo;s story also exposes the ways in which individual artists navigate the often competitive and contentious relationship between national and global cinemas. In the following, I intend to examine Tarrrsquo;s films and public persona as catalysts in the debates about the direction of “Hungarian cinema” in a globalizing world.

Critics and cinephiles worldwide recognize Tarr as one of the very few, if not the only, Eastern European filmmakers today with a lasting legacy. Besides winning numerous awards, his films have made it onto several “best of world cinema” lists, for instance The Guardianrsquo;s “Forty Best Film Directors in the World” and also “The Best Non-English Language Films” created by film critic and blogger, Edward Copeland. In contrast, while it is true that Tarrrsquo;s work has been enthusiastically received by a small group of Hungarian academics and intellectuals

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