<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>As a result of its radical approach to the topic of the Holocaust, as well as due to the long list of prestigious prizes it won, <italic>Son of Saul</italic> (<italic>Saul fia</italic>, 2015, directed by László Nemes Jeles) has put the relation between Eastern European societies and totalitarianism in the centre of public and academic discourse. Though most reviews and articles placed the film in the history of Holocaust-representations, this is not the only context in which the film can be understood. In the present article I argue that <italic>Son of Saul</italic> can also be read outside (or at least at a distance from) the context of a Holocaust-film, as it also belongs to another, quite different and internationally much less known local cinematic canon. There is an unclaimed heritage behind Nemes Jeles’s controversial masterpiece, a trend in Hungarian cinema that explores the crisis of masculinity in totalitarian political regimes, thereby performing an allegorical critique of modernity and modern subjectivity. My recontextualization of Nemes Jeles’s work indicates the ways it is influenced by a local, Eastern European filmmaking tradition (which includes the work of his own father, the filmmaker András Jeles as well), and is supported by three interrelated conceptual focus points: a post-Foucauldian understanding of cultural and cinematic space, an awareness of the workings of modern cinematic allegory, and finally the use of male protagonists as prime sites for the inscription of social crisis and historical trauma.</p>
</abstract>

As a result of its radical approach to the topic of the Holocaust, as well as due to the long list of prestigious prizes it won, Son of Saul (Saul fia, 2015, directed by László Nemes Jeles) has put the relation between Eastern European societies and totalitarianism in the centre of public and academic discourse. Though most reviews and articles placed the film in the history of Holocaust-representations, this is not the only context in which the film can be understood. In the present article I argue that Son of Saul can also be read outside (or at least at a distance from) the context of a Holocaust-film, as it also belongs to another, quite different and internationally much less known local cinematic canon. There is an unclaimed heritage behind Nemes Jeles’s controversial masterpiece, a trend in Hungarian cinema that explores the crisis of masculinity in totalitarian political regimes, thereby performing an allegorical critique of modernity and modern subjectivity. My recontextualization of Nemes Jeles’s work indicates the ways it is influenced by a local, Eastern European filmmaking tradition (which includes the work of his own father, the filmmaker András Jeles as well), and is supported by three interrelated conceptual focus points: a post-Foucauldian understanding of cultural and cinematic space, an awareness of the workings of modern cinematic allegory, and finally the use of male protagonists as prime sites for the inscription of social crisis and historical trauma.

Recontextualizing <italic>Son of Saul</italic>: Masculinity in Totalitarian Spaces in Hungarian Film History

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Recontextualizing : Masculinity in Totalitarian Spaces in Hungarian Film History

As a result of its radical approach to the topic of the Holocaust, as well as due to the long list of prestigious prizes it won, Son of Saul (Saul fia, 2015,...

Recontextualizing Son of Saul: Masculinity in Totalitarian Spaces in Hungarian Film History

Online veröffentlicht: 05. Aug. 2022

Seitenbereich: 123 - 145

DOI: https://doi.org/10.2478/ausfm-2022-0005

Schlüsselwörter
Hungarian cinema, totalitarianism, masculinity, allegory

© 2022 György Kalmár, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Recontextualizing Son of Saul: Masculinity in Totalitarian Spaces in Hungarian Film History

Online veröffentlicht: 05. Aug. 2022

Seitenbereich: 123 - 145

DOI: https://doi.org/10.2478/ausfm-2022-0005

SchlüsselwörterHungarian cinema, totalitarianism, masculinity, allegory

© 2022 György Kalmár, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Schlüsselwörter
Hungarian cinema, totalitarianism, masculinity, allegory