Contributors' Details

György Báron is a film critic for Filmvilág and Élet és Irodalom, and a Professor at the Academy of Drama and Film, Budapest. An abbreviated version of this essay appeared in the Visegrad Documentary Library Catalogue (International Visegrad Fund, Bratislava, Slovak Republic) and One World— International Human Rights Film Festival (Prague, Czech Republic, 2002).

John Cunningham is Senior Lecturer in Film Studies at Sheffield Hallam University, UK, and has taught extensively at a number of Hungarian and international universities including Janus Pannonius (Pécs), Eötvos Loránd (Budapest),  Szeged, and Debrecen.  He is the author of Hungarian Cinema: From Coffee House to Multiplex (2004). He is currently working on a major study of the films of István Szabó, to be published by Wallflower Press, late 2008.

Kristian Feigelson is a sociologist specializing in cinema and history and the sociology of the film industry at the Institut de Recherches en Cinéma et Audiovisuel, Paris; Professor (Habilité) of Cinema and Media Studies at the University of Paris III/ Sorbonne Nouvelle/IRCAV; and Associate Researcher at the École des Hautes Etudes en Sciences Sociales/CESTA. The organizer of numerous international colloquia on East European cinema, and of collaborative research for journals including Annales, Communications, Esprit, Études, and Positif, he is editor of Théorème 7 : Cinéma hongrois: le temps et l'histoire, 2003; Théorème 8: Caméra politique: Cinéma et Stalinisme, 2005; Théorème 10: "Villes cinématographiques : ciné-lieux," and co-editor of Russie, peuples et civilisations (2005). His recent publications include Les États Postsoviétiques: Identités en Transition (2004), published in Russian.

David Frey is Assistant Professor of History at the United States Military Academy where he teaches courses on Modern Central Europe, Africa, genocide and ethnic cleansing, and imperialism. He earned his PhD from Columbia University in 2003 where he was a Hungarian Studies Fellow at the Harriman Institute. He is a recent Auschwitz Fellow and Scholar-in-Residence at the Auschwitz Jewish Center Foundation in Poland. His research primarily concerns the Hungarian film industry in the interwar period; recent publications include “Competitor or Compatriot? Hungarian Film in the Shadow of the Swastika” in Cinema and the Swastika (2007); “Just what is Hungarian? Concepts of national identity in the Hungarian film industry, 1931-44” in Reconstructing Nationalities in East Central Europe (Berghahn 2005); and “Aristocrats, Gypsies, and Cowboys All: Film Stereotypes and Hungarian National Identity in the 1930s” (Nationalities Papers, 2002). His current project is “The Successful Tragedy: Jews, Nazis, Film and the Hungarian Nation.”

Peter Hames is Honorary Research Associate and former Subject Leader in Film and Media Studies at Staffordshire University, England. He has published widely on Central European cinema and is a program advisor to the London Film Festival. He is editor of The Cinema of Central Europe (Wallflower, 2004) and The Cinema of Jan Svankmajer: Dark Alchemy (second edition, Wallflower, 2008); co-editor of Cinemas in Transition: East-Central Europe after 1989 ; and author of The Czechoslovak New Wave (California, 1985; second edition, Wallflower, 2005). He is a contributor to Post New Wave Cinema in the Soviet Union and Eastern Europe (Indiana, 1989); Five Filmmakers (Indiana, 1994); The BFI Companion to Eastern European and Russian Cinema (BFI, 2000); 100 Years of European Cinema (Manchester, 2000); Traditions in World Cinema (Edinburgh, 2006); and East European Cinemas (Routledge/AFI, 2006) among other publications.

Anikó Imre's research and teaching interests are in global, European and East European media, cultural theories of globalization and identity, children's media and media education. Imre is editor of East European Cinemas, published in Routledge's Film Readers series (2005), and co-editor of Transnational Feminism in Film and Media, published in Palgrave's Comparative Feminist Studies series (2007).  Her monograph,  Identity Games: Globalization and the Transformation of Post-Communist Media Cultures, is forthcoming with MIT Press.

Beverly James is Professor of Media Studies in the Department of Communication at the University of New Hampshire. She received her doctorate from the University of Iowa and taught at the University of Alaska before her appointment at UNH in 1987. Professor James has also taught in Hungary, and has written and lectured extensively about the fall of communism in Hungary and the cultural consequences of the economic and political shifts. Her latest book is Imagining Postcommunism: Visual Narratives of Hungary's 1956 Revolution (Texas A&M UP, 2006), a consideration of the multiple polemical narratives of competing political forces in post-communist Hungary.

Steve Jobbitt is a doctoral candidate in history at the University of Toronto, where he is completing his dissertation “A Geographer's Tale: Nation, Modernity, and the Negotiation of Self in Trianon Hungary.”  He is currently teaching upper-level courses on nationalism, war and society in 20th-century east central Europe, and the history of landscape and geography in modern Europe.

András Bálint Kovács is Director of the National Audiovisual Archive (Budapest), a digital archive of legal deposit broadcast material, and artistic advisor for Béla Tarr's production company, T&T Filmmuhely. He is Head of the Film Department at Eötvös Loránd University (Budapest), and has taught at the Université de la Sorbonne Nouvelle (Paris) and the University of Stockholm. His books include Les Mondes d'Andrej Tarkovsky (Lausanne, 1987); Metropolis, Paris: On German expressionism and the French New Wave (Budapest, 1992); Tarkovszkij (Budapest, 1997); Film and Narration (Budapest, 1997); Collection of Essays (Budapest 2002); Trends in Modern Cinema (Budapest 2005); and a translation into Hungarian of Deleuze's Cinema 1-2. His most recent book, Screening Modernism: European Art Cinema from the 1950s to the 1970s, appeared in Fall 2007 from University of Chicago Press.

Catherine Portuges is Professor of Comparative Literature, Director of the Interdepartmental Program in Film Studies, and Curator of the Massachusetts Multicultural Film Festival at the University of Massachusetts Amherst. She is the author of Screen Memories: the Hungarian Cinema of Márta Mésros (Indiana 1993) and co-editor of Cinemas in Transition: Post-communism in East-Central Europe (forthcoming, Temple 2008). Her most recent essays appear in collections including Projected Shadows: Psychoanalytic Reflections on Loss in European Cinema (Routledge, 2007); Caméra Politique: Cinéma et Stalinisme (Théorème, 2005); Imre Kertész and Holocaust Literature  (Purdue 2005); East European Cinemas (Routledge, 2005); The Cinema of Central Europe (Wallflower, 2005); Cinéma hongrois: le temps et l'histoire (Théorème 2003); Comparative Cultural Studies and Central European Culture Today; and in journals including Cineaste, The Moving Image, Psychoanalytic Inquiry, and Slavic Review.   She was awarded a 2006-07 fellowship from the National Foundation for the Humanities for her project “The Subjective Lens: Post-Holocaust Jewish Identities in Hungarian Cinema.”

Ivan Sanders is Professor Emeritus of English at Suffolk College (SUNY) and Adjunct Professor at Columbia University's East Central European Center. He has also taught at the New School University, the Jewish Theological Seminary of America, New York University, and the Central European University in Budapest. He has translated George Konrád, Péter Nádas, and other major Hungarian writers; for his translations, he has been awarded the Soros Translation Prize (1988), the Füst Milán Prize (1991), and the Déry Tibor Prize (1998). His reviews and articles have appeared in The New York Times Book Review, The New Republic, Commonweal, as well as in a number of scholarly journals in the United States and Europe.

Susan Rubin Suleiman is the C. Douglas Dillon Professor of the Civilization of France and Professor of Comparative Literature at Harvard University. She has received fellowships from the John Simon Guggenheim Memorial Foundation, the Rockefeller Foundation, and the National Endowment for the Humanities. In 1992, she was decorated by the French government as an officer of the Order of Academic Palms (Palmes Académiques). Born in Budapest, she emigrated to the US as a child with her parents. She is the author or editor of many books, including Budapest Diary, In Search of the Motherbook (1996); Exile and Creativity: Signposts, Travelers, Outsiders, Backward Glances (1998); and Contemporary Jewish Writing in Hungary (co-edited with Eva Forgács, 2003). Her recent work has focused on personal and collective memory and history, especially of World War II and the Holocaust. Her latest book, Crises of Memory and the Second World War , an examination of texts and films where individual memories intersect with public memories of traumatic events, was published by Harvard University Press in 2006.


Updated: 10 Feb 08