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- W3204562000 abstract "This paper investigates how Laszlo Nemes’ Sunset (Napszallta, 2018), a drama set in Budapest of the early 1910s, gestures to but problematises the pleasures of ‘her-itage space’ (Higson 1993). The film combines the careful assembly of period mise en scene with a countervailing and systematic attenuation of this reconstruction, achieved through tight framing, shallow focus and extreme focalisation on the pro-tagonist Irisz Leiter. This strategy consigns many of the splendours of Belle Epoque Budapest to off-screen or out-of-focus space. I explore how Sunset’s deployment and complication of the visual, and narrative, pleasures of the period film engages critically with attitudes towards history and the past; the resulting response to the film among Hungarian reviewers; and the gender politics of the film. The institution-alised gender abuse behind the beautiful facade of the Leiter hat store and its opu-lent clients parallels contemporary scandals. Like many period films, Sunset is set on the cusp of change, a moment when “the present imagines itself to have been born and history forever changed” (Sadoff and Kucich 2000). But it refuses to be sealed off as a closed history to be either nostalgically enjoyed or smugly judged at a safe distance from the present." @default.
- W3204562000 created "2021-10-11" @default.
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- W3204562000 date "2021-10-24" @default.
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- W3204562000 title "<i>Sunset</i>(Napszállta) and the politics of the period film" @default.
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- W3204562000 doi "https://doi.org/10.1080/17411548.2021.1989159" @default.
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