벨라 타르 초기작 연구 (1978∼1985): 헝가리 개혁 공산주의 사회 현실과 인간을 향한 영화적 응시

초록

This study is the result of analyzing short films Hotel Magnezit(1978), Cinemarxisme(1979), feature films Családi Tüzfészek(1979), Szabadgyalog(1981), Panelkapcsolat(1982), and Öszi almanach(1985), which correspond to early works by Hungarian film director Béla Tarr. Béla Tarr, who made his film debut in the mid-1970s with his activities at the Béla Balázs Studio in Hungary, is a person who has established himself as a world-class cineast beyond Hungary by continuing filmography after going through the “Budapest School.” In particular, his early works during Hungary’s reformed communism from the mid-to-late 1970s to the early 1980s are particularly notable among his filmography in that they realistically capture the social problems and human appearances of Hungary at the time. The characteristics of Bela Tarr’s early films are derived as follows. First, basic life issues such as labor and housing in Hungary at the time and the contradictions between communism and bureaucracy surrounding them are dealt with along with social problems. Second, the microscopic daily lives of characters in this social reality, especially the aspects of alienation, discord, were revealed as human specific exploration. Third, based on this, Tarr’s early films are also meaningful in that they are the practice of Hungarian realism film aesthetics from Béla Balázs pursued by the “Budapest School” and ‘quasi-documentary’ films of the same period as Cinema Verite. It can be said that the trajectory of Bela Tarr’s early films has a clear meaning not only in his overall filmography but also in terms of Hungarian film history.

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