- Praha, Prague, Czech Republic
- Charakteringas eksponatas:
This work and the Gvozden series were displayed for the first time in the salon of the Museum of Contemporary Art in 1971. Gvozden is an invented character, a representative of the ‘guest workers’ – Yugoslavs who in the 1960s departed for temporary employment abroad, most frequently to Germany. Due to unsuccessful economic reforms, Yugoslav citizens in the mid-1960s were confronted with a rise in unemployment leading to the emigration of several hundred thousand Yugoslavs. As a result of the rapid growth of the German economy after the Second World War, West Germany needed to enlarge its labour force. In 1968, it signed an agreement with Yugoslavia. Yugoslavs, like the citizens of other nations working on a temporary basis, received ‘guest worker’ status: The Gastarbeiter agreements were aimed at low-skilled workers for jobs requiring few qualifications.Popović's Gvozden is an ordinary human being removed from his natural social and cultural environment and placed into another social context. This is an allegory of modern alienation, an individual who unwillingly travels in search of better economic conditions and a better life and on this path meets with unfamiliar and difficult circumstances. By dealing with the topic of guest workers at that time, the artist drew attention to the social problems of the post-war generation. This is an exceptional example of the critical exploration of concrete social conditions.
The documentary endeavours of the Budapest School (a tendency in Hungarian filmmaking speared in the seventies which was dominated by a sociological point of view) prevail in this documentary-feature film, which is a “development novel” about György Cséplő, an intelligent and ambitious Roma boy, whose attempt to break out of his miserable existence offers a sketch of the situation of the Roma population in Hungary in the 1970s.
The director shot his situational documentary by setting the scene but then not interfering in the sequence of events (as long as one does not consider the presence of a camera a manner of interference). Schiffer wanted to make the documentary lively and current in order to enable the viewer to participate emotionally.
One of the most interesting diagnoses of the film (which harmonizes with the research of the legendary sociologist István Kemény) is that the poorest, most vulnerable groups of society live and think in the same way, Roma and non-Roma alike, so the so-called Roma question can be approached from the perspective of social stratification, not as an issue of race.
Produced by BBS and Hunnia Studio in 1978.
„Aš rašau tai, ką rašau, o valstybinės leidyklos išleidžia tuos mano darbus, kurių jie nori, tačiau aš išleidžiu savo darbus taip, kaip galiu.“ Tokiais žodžiais Györgis Konrádas 1974 metais interviu Vakarų Vokietijos žurnalui „Die Zeit“ apibūdino cenzūros funkcionavimą. Vengrijos disidentų rašytojas ir aktyvistas nuo XX a. 8 deš. pradžios buvo nuolatos persekiojamas valdžios institucijų. Jo darbai buvo arba draudžiami, arba išleidžiami tik po itin kruopščios cenzorių veiklos. Györgio Konrádo romaną „Miesto statytojas“ 1977 m. Vengrijoje buvo leista spausdinti tik atsisakius tam tikrų dalių bei padarius pakeitimų kitose romano dalyse.
Gáboras Klaniczajus, kontrkultūra susidomėjęs jaunasis intelektualas, išsaugojo vieną Konrádo romano kopiją. Ši knyga yra unikali, nes Gáboras Klaniczajus pats pataisė tas dalis, kurios buvo išimtos ir pakeistos cenzorių. Tuo metu uždraustų ar cenzūruotų tekstų rankraščių kopijomis buvo dalinamasi opozicinių grupių tinkluose. Todėl ši knyga byloja ne tik apie valdžios intencijas pažaboti disidentinę veiklą, bet taip pat apie individualius bandymus atsispirti valdžios kontrolei.
One of Árpád Göncz’s first trips abroad in May 1990 as newly-elected President of the Hungarian Republic was to Indianapolis, US in order to receive a Honorary Doctorate from the Senate of Butler University. On this occasion, he first read his essay “The nameless Hungarian,” a brief historical overview of twentieth century in Hungary and East Central Europe. (The speech held at the ceremony was somewhat longer than the essay, but only the Hungarian draft survived in a later book publication, without the final English version. Here, all the three texts can be read attached.)
This somewhat “bitterly optimistic” summary reflects Göncz’s charmingly brave and honest character, his wisdom, his deep empathy, and his sense of humor, as well as his sincere conviction that all the pains, failures, and losses of a horrible century can only be surpassed by the powerful collective reserves of freedom and liberty.