Suchergebnisse

The article introduces the collective research project entitled The Social History of Hungarian Cinema, 1931–2015, executed by the staff of Film Studies Department Eötvös Loránd University. This data-driven research aims to examine how and why Hungarian films have changed over time. Using the case study of conflict types in the plots of Hungarian films this study discusses the methodological problems of longitudinal explanations of change in Hungarian film history (periodization and dividing film between genre-based film and auteur films/art cinema). Based on the analysis of statistics and trends, the study presents the most important types of conflict in Hungarian film history. With respect to the political turning points and the periodization of Hungarian film history, the article states that each of the three broad periods (1931–1944, 1945–1989, 1990–2015) is characterized by its own distinctive set of prominent conflict types. The pre-1945 era is characterized by a massive number of love conflicts, the socialist period by the highest rate of political conflicts (and the lowest rates of love and crime conflicts), and the post-socialist period by a high rate of crime and generational conflicts. Furthermore, by analysing the connections between conflict types and genres, the study reveals recurring patterns and trends of shorter periods: it shows how the range of conflicts narrowed considerably over the 1970s and discusses the extent to which this is related to the dominance of auteur films in the era.

This article provides an overview of the recent trends and problems of Hungarian popular cinema with special regard to its cultural context outlining the process of recognition of popular cinema over the past twenty years in Hungary. In general Hungarian cinema is characterised by middle-range genres (dominantly comedy) and not by a large scope. This was the case in the 1930s and 1940s during the 'golden age' of Hungarian comedies and popular cinema. And this typifies contemporary Hungarian popular cinema as well. However, the first decade after the political changes, the 1990s was characterised by a return to the tradition of the classical Hungarian comedies and only the 2000s brought the modernization of Hungarian popular cinema. ; This article provides an overview of the recent trends and problems of Hungarian popular cinema with special regard to its cultural context outlining the process of recognition of popular cinema over the past twenty years in Hungary. In general Hungarian cinema is characterised by middle-range genres (dominantly comedy) and not by a large scope. This was the case in the 1930s and 1940s during the 'golden age' of Hungarian comedies and popular cinema. And this typifies contemporary Hungarian popular cinema as well. However, the first decade after the political changes, the 1990s was characterised by a return to the tradition of the classical Hungarian comedies and only the 2000s brought the modernization of Hungarian popular cinema.

Around the Millennium we experienced the worldwide development and the growing importance of the role of higher education played in the social and economic development. A few years later, however, a crisis appeared in the situation of higher education (Kadocsa, 2002). The Hungarian higher education system faces the perspective of serious changes in its fundamental principals – such as its main activities and the economical ways which are used to finance these activities – even if only parts of the new educational scheme come into effect. Considering this fundamental activity aspect of the issue, there are new challenges which make necessary to rethink the role and aim of higher education and to define the new tasks needed in connection with education, research and other services. Hungarian Education needs to be renewed and improved to avoid a completebreak away; therefore, future priorities and tasks in order to fulfill these priorities need to be defined (Vincze and Harsányi, 2011). The new conception seems to be based on restrictions of the budget as it is experienced recently: a new structure available for a smaller part of society with a restricted budget has been under development. However, not even a battle, let alone a war can be won without money, horses and arms. The recent financial restrictions as well as the parts of the Széll Kálmán plan concerning education prove that serious amounts of governmental funds is taken away from education. The international improvement tendencies contradict to basically all of these Hungarian priorities.All in all, no reform or change – no matter how much wanted – can be achieved without appropriate funds.

t can be defined in the course of the review of the financing characteristics of higher education that every model has its advantageous feature which is missing from the others, at the same time; it has its weaknesses as well. None of the basic models can meet the complex requirements of the nowadays society and government, thus the choice between the models have to be based on the preferences of decisionmakers and society. In most countries the combination of models are implemented, which compensate the weaknesses of the basic models, however, the models formed by the combination of different principles are neither perfect.

In 2012 the governments of Hungary and Slovakia signed an agreement to build a new bridge over the Danube, the border between the two countries and the northern and southern part of the city of Komárom. The road lead through the bridge connects Road No. 1 in Hungary with Road No. 63 in Slovakia, bypassing, and meanwhile reducing the road traffic the southern part of the town. The new Danube bridge is located 170 metres upstream (west) from the existing railway bridge, and 2.8 kilometres from the old Erzsébet Danube-bridge in the city-centre. The bridge itself is a five-span, stay-cable structure with one pylon. The authorities of the two countries signed the building permissions in 2014 based upon the designs and plans of JV of Pont-Terv Zrt. and Dopravoprojekt a.s. The construction contract with H-M Dunahíd Konzorcium (JV between Hídépítő Zrt. and Mészáros és Mészáros kft.) was signed on the 14th July, 2017, the works started in August 2017 and the bridge was opened on the 17th of September, 2020. Kivonat 2012-ben Magyarország és Szlovákia Kormánya megállapodást kötött a két ország közös államhatárán, Komárom északi és déli része között, a Dunán átívelő közúti híd építéséről. A tervezett hídon átvezetett útszakasz a magyar oldali 1. sz. főutat köti össze a szlovák oldali 63. sz. főúttal, elkerülve, és ezzel tehermentesítve a déli városrészt. Az új közúti Duna-híd a meglévő vasúti hídtól 170 m-re (folyásiránnyal szemben nyugati irányban), a városközpontban lévő közúti Erzsébet Duna-hídtól 2,8 km-re helyezkedik el. A híd öt nyílású, egypilonos, ferdekábeles szerkezet. A két állam hatóságai az építési engedélyeket 2014-ben adták ki a Pont Terv Zrt. – Dopravoprojekt a.s. Konzorcium tervei alapján. A 2017. július 14-én megkötött szerződés alapján a híd kivitelezését a H-M Duna-híd Konzorcium (Hídépítő Zrt. és Mészáros és Mészáros kft.) 2017 augusztusától 2020 júliusáig végezte el. A hidat 2020 szeptember 17.-én nyitották meg a forgalom számára.