By comparing the design of Jancsó's mobile shots in a 1967 and a 1998 film, this essay analyzes the director's political commentary via the two films' visual style. The author argues that the filmmaker's construction of cinematic spaces is anchored to the critical depiction of dominant national ideologies.

Keywords:
Miklós Jancsó, camera movement, political allegory and film style, Hungarian cinema, post-Communism
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© 2009 by the Regents of the University of California.
2009
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