Titlebook: Space in Romanian and Hungarian Cinema; Anna Batori Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Eastern European.Romani

DOLT

Ventricle

The Romanian Films of the Transition Period,d prefabricated spaces as setting through the textual reading of Lucian Pintilie’s . (., 1992) and Nicolae Mărgineanu’s . (., 1993). Besides the films’ narrative set-up, which reflects the economic and social hardships of the post-revolutionary years, the chapter explores the way these productions’

GLARE

Romanian New Cinema,ist past. By establishing three categories (retrospective films, Romanian New Wave, and Romanian past films) within the contemporary Romanian feature film corpus, the chapter focuses on internationally recognised Romanian productions such as Stere Gula’s . (., 2013, 2004), Radu Muntean’s . (. 2006)

remission

Space in Contemporary Hungarian Cinema,ture films. By focusing on the impact of Béla Tarr’s apocalyptic vision of the rural in the films of Hungarian New Cinema, the chapter focuses on the village landscape in Kornél Mundruczó’s . (., 2003).

outskirts

Book 2018ialist past on a post-socialist present. It considers this legacy of the Eastern European socialist regimes by interrogating the suffocating, tyrannical and enclosing structures that are presented in film. By tracing such paradigmatic models as horizontal and vertical enclosure, this book aims to sh

骂人有污点

The Socialist Production of Eastern European Space,d homesteads and cube houses. By providing a spatial reading of the cityscape of Bucharest and the rural landscape of Hungary, the examination establishes a cultural and political base for the vertical and horizontal categories on screen discussed later in the book.

Arthritis

The Socialist Cinema of Romania,inises films from the 1980s, such as Alexandru Tatos’ . (., 1982), Lucian Pintilie’s . (., 1981) and Mircea Daneliuc’s . (., 1980). The analysis concerns the representation of (pro-filmic) space and the hidden critique that these films form of the actual regime by the spatial structure of the productions and the use of a . structure.

OVERT

The Romanian Films of the Transition Period,’ narrative set-up, which reflects the economic and social hardships of the post-revolutionary years, the chapter explores the way these productions’ . operates with pro-filmic reality and screen space to reflect upon the socialist present.

粗野

ll of origin has been exploited as a model system by legions of cellular and molecular biologists. Yet despite its popularity among investigators with divergent interests, surprisingly little is known about the manner in which the hormone exerts its effects on target cells. During the past few years

无效

Anna Batori originally isolated from the mammalian gastrointestinal tract in this way were subsequently found in the central nervous system, thus giving rise to the term “brain-gut peptides” (1). Today, peptides such as vasoactive intestinal polypeptide (VIP) and substance P are viewed primarily as neural pept