The Political Dimension of the Private and Public Space in the Films of Péter Forgács
Abstract
The article is an attempt to grasp the mechanisms that organise the experimental method of work of the Hungarian director Peter Forgacs that relies on the use of archival home film footage. The author reveals the way the director uses private film material in the found footage work in its social and political dimensions. She refers to Jay Leyda’s concept of compilation film, Marcel Duchamp’s and the Fluxus group’s ready-made category, as well as the concept of performative documentary style attributed to Peter Forgacs’s work in the classification proposed by Bill Nichols in the Introduction to Documentary. Using the example of Peter Forgacs’s film The Maelstrom: A Family Chronicle (1997), the author presents the mechanisms of memory the director employs that lead the audience to understand the tragic dimension of European history of the twentieth century, and in particular the Holocaust as a private and personal experience.
Keywords:
Péter Forgács, space, ready-madeReferences
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Authors
Gabriela Sitekkwartalnik.filmowy@ispan.pl
University of Warsaw Poland
Absolwentka filologii polskiej na UW i podyplomowych studiów z zakresu wiedzy o kulturze w PAN. Współpracowała z kwartalnikiem „Res Publica Nowa”, publikując recenzje filmowe i artykuły z zakresu audiowizualności. Współpracuje ze „Zwierciadłem.pl”. Członkini Grupy Okołofotograficznej prowadzącej działania animacji kulturalnej.
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