Béla Tarr
Tarr at the Sarajevo Film Festival showing of his film A Londoni férfi (2007)
Born	(1955-07-21) July 21, 1955 (age 56) Pécs, Hungary
Years active	(1971 - present)
Spouse	Ágnes Hranitzky

Béla Tarr (born July 21, 1955) is a Hungarian film director.

Life[link]

Tarr was born in Pécs, but grew up in Budapest. Both of his parents were close to theatre and film: his father was a scenery designer, while his mother has been working as a prompter at a theater for more than 50 years now. His mother took him to a casting by the Hungarian national television (MTV) at the age of 10 and he finally won the role of the protagonist's son in a TV-drama adaptation of Tolstoy's The Death of Ivan Ilyich. Apart from a smaller role in Miklós Jancsó's film Szörnyek évadja (Season of Monsters, 1986), Tarr never tried acting again. He has said that originally he wanted to be a philosopher, and he considered film making as something of a hobby. However, after making his 8mm short films, the Hungarian government would not allow Tarr to attend university. So he chose to pursue film production instead.

Early work[link]

Tarr began to realize his interests with film-making at the age of 16 by making amateur films and later working as a caretaker at a national House for Culture and Recreation.^[1] Most of his amateur works were documentaries, mostly about the life of workers or poor people in urban Hungary. His amateur work brought him to the attention of the Béla Balázs Studios (named in honor of the Hungarian cinema theorist, Béla Balázs), which helped fund Tarr's 1977 feature debut Családi tűzfészek (Family Nest) at the age of 22.^[1] Tarr shot the film without any budget with non-professional actors (participating in the film only by "friendship" and without any salary) and on original locations in six days. The film was faithful to the "Budapest School" or "documentarist" style popular at the time within Béla Balázs Studios, maintaining absolute social realism on screen. Critics found the film to be suggestive of an influence from the directorial work of John Cassavetes,^[1][2] though Tarr denied having seen any of Cassavetes's films prior to shooting Családi tűzfészek. The film was eventually released in 1979.

After completing "Családi tűzfészek" Tarr began his studies in the Hungarian School of Theatrical and Cinematic Arts. The 1980 piece Szabadgyalog (The Outsider) and the following year's Panelkapcsolat (The Prefab People) continued in much the same vein with smaller changes in style. The latter was the first film by Tarr to feature professional actors in the leading roles. With a 1982 television adaptation of Macbeth, his work began to change dramatically; the film is composed of only two shots, the first shot (before the main title) five minutes long, the second 67 minutes.^[1] Not only did Tarr's visual sensibility move from raw close-ups to more abstract mediums and long shots, but also his philosophical sensibility shifted from grim realism to a more metaphysical outlook similar to that of Andrei Tarkovsky. Tarr himself considers Rainer Werner Fassbinder as his main influence and idol.

Later work[link]

After 1984's Őszi almanach (Almanac of Fall), Tarr (who had written his first four features alone) began collaborating with Hungarian novelist László Krasznahorkai for 1988's Kárhozat (Damnation). A planned adaptation of Krasznahorkai's epic novel Sátántangó took over seven years to realize; the 415-minute film finally appeared to international acclaim in 1994.^[1] After the epic he released a 35-minute film Journey on the Plain in 1995 and fell into silence until the 2000 film Werckmeister Harmóniák (Werckmeister Harmonies), occasionally shot in very intense circumstances.^{[such as?]} The film itself was very warmly welcomed by critics and the Festival circuit in general. Many if not most of the shots in these later films are up to eleven minutes long. It may take months to do a single shot. The camera swoops, glides, and soars. It circles the characters, it moves from scene to scene. It may, as in Sátántangó, travel with a herd of cows around a village, or follow the nocturnal peregrinations of an obese agoraphobic drunk who is forced to leave his house because he's run out of booze. Susan Sontag championed Tarr as one of the saviors of the modern cinema, saying she would gladly watch Sátántangó once a year.

After Werckmeister he began filming A Londoni férfi (The Man From London) an adaptation of a Georges Simenon novel. It was scheduled to be released at the 2005 Cannes Film Festival in May, but production had to be shut down because of the suicide of producer Humbert Balsan on February 10, 2005 and there were disputes with the other producers over a possible change in the film's financing.^[3] It premiered at the 2007 Cannes Film Festival^[4] and was released worldwide in 2008. Tarr then began working on a film called A torinói ló (The Turin Horse) which he has said will be his last.

For many years, none of his work was available on DVD (except in Japan), but Werckmeister Harmonies and Damnation have been made available on a two-disc DVD in Europe, courtesy of Artificial Eye (who have also issued The Man From London) and both films are now available in North America on separate DVDs from Facets Video. Tarr's early works; Family Nest, The Outsider, and The Prefab People; are also available on DVD in the USA, courtesy of Facets. Facets was supposed to release Sátántangó on DVD on November 28, 2006, but was delayed until July 22, 2008. Artificial Eye released the film on November 14, 2006. A comparison of the two DVD editions has been posted at DVD Beaver.^[5]

Cine Foundation International[link]

In January 2011, Tarr joined the Board of Directors of the recently formed cinema foundation and NGO for human rights Cine Foundation International. In a press release dated January 24, 2011 Tarr made the following statement regarding the imprisonment of filmmakers Jafar Panahi and Mohammad Rasoulof:

Cinematography is an integral part of universal human culture! An attack against cinematography is desecrating universal human culture! This cannot be justified by any notion, ideology or religious conviction! Our friend, brother and esteemed colleague Jafar Panahi is in prison today, based on conjured and fictional accusations! Jafar did not do anything else than what is the duty of all of us; to talk honestly, fairly about our own country and loved ones, to show everything that surrounds us with tender tolerance and harsh austerity! Jafar’s real crime is that he did just that; gracefully, elegantly and with a roguish smile in his eyes! Jafar made us love his heroes, the people of Iran; he achieved that they have become members of our families! WE CANNOT LOSE HIM! This is our common responsibility, as despite all appearances we belong together.^[6][7]

Influence[link]

Gus Van Sant often cites Tarr as a huge influence on his later work,^[8] beginning with Gerry when Van Sant began using very long uninterrupted takes.

Tarr, and particularly his film Sátántangó, have been highly praised by, and considered to be a major influence on the remodernist film movement.^[9]

Filmography[link]

Feature films[link]

• Családi tűzfészek / Family Nest (1977)
• Szabadgyalog / The Outsider (1981)
• Panelkapcsolat / The Prefab People (1982)
• Őszi almanach / Autumn Almanac (1985)
• Kárhozat / Damnation (1988)
• Sátántangó / Satan's Tango (1994)
• Werckmeister harmóniák / Werckmeister Harmonies (2000)
• A londoni férfi / The Man from London (2007)
• A torinói ló / The Turin Horse (2011)

Television films[link]

• Macbeth (1982)

Short films[link]

• Hotel Magnezit (1978)
• Utazás az alföldön / Journey on the Plain (1995)
• Visions of Europe(film) (2004)
  • segment: Prologue

Documentary films[link]

• City Life (1990)
  • segment: Az utolsó hajó / The Last Boat

References[link]

External links[link]

• Béla Tarr at the Internet Movie Database
• Béla Tarr on the Board of Directors for Cine Foundation International
• Brightlightsfilm.com Interview
• Kinoeye Essay
• Declaration of Solidarity for Béla Tarr, by Fred Kelemen, FIPRESCI website, March 2005, retrieved April 17, 2006
• Vajramedia presents: Satantango Berlinale 1994 Forum Documentation
• Tarr with his dffb film students

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)

"The Man" is a slang phrase that may refer to the government or to some other authority in a position of power. In addition to this derogatory connotation, it may also serve as a term of respect and praise.

The phrase "the Man is keeping me down" is commonly used to describe oppression. The phrase "stick it to the Man" encourages resistance to authority, and essentially means "fight back" or "resist", either openly or via sabotage.^[1]

History[link]

The earliest recorded use^{[citation needed]} of the term "the Man" in the American sense dates back to a letter written by a young Alexander Hamilton in September 1772, when he was 15. In a letter to his father James Hamilton, published in the Royal Dutch-American Gazette, he described the response of the Dutch governor of St. Croix to a hurricane that raked that island on August 31, 1772. "Our General has issued several very salutary and humane regulations and both in his publick and private measures, has shewn himself the Man." ^{[2][dubious – discuss]} In the Southern U.S. states, the phrase came to be applied to any man or any group in a position of authority, or to authority in the abstract. From about the 1950s the phrase was also an underworld code word for police, the warden of a prison or other law enforcement or penal authorities.

It was also used as a term for a drug dealer in the 1950s and 1960s and can be seen in such media as Curtis Mayfield's "No Thing On Me", William Burroughs's novel Naked Lunch, and in the Velvet Underground song "I'm Waiting for the Man", in which Lou Reed sings about going to Uptown Manhattan, specifically Lexington Avenue and 125th Street, to buy heroin.

The use of this term was expanded to counterculture groups and their battles against authority, such as the Yippies, which, according to a May 19, 1969 article in U.S. News and World Report, had the "avowed aim ... to destroy 'The Man', their term for the present system of government". The term eventually found its way into humorous usage, such as in a December 1979 motorcycle ad from the magazine Easyriders which featured the tagline, "California residents: Add 6% sales tax for The Man."

In present day, the phrase has been popularized in commercials and cinema, featuring particularly prominently as a recurring motif in the 2003 film School of Rock.^[3][4][5][6]

Use as praise[link]

The term has also been used as an approbation or form of praise. This may refer to the recipient's status as the leader or authority within a particular context, or it might be assumed to be a shortened form of a phrase like "He is the man (who is in charge)." One example of this usage dates to 1879 when Otto von Bismarck commented, referring to Benjamin Disraeli's pre-eminent position at the Congress of Berlin, "The old Jew, he is the man."^{[7][dubious – discuss]}

In more modern usage, it can be a superlative compliment ("you da man!") indicating that the subject is currently standing out amongst his peers even though they have no special designation or rank, such as a basketball player who is performing better than the other players on the court. It can also be used as a genuine compliment with an implied, slightly exaggerated or sarcastic tone, usually indicating that the person has indeed impressed the speaker but by doing something relatively trivial.

See also[link]

• Absentee landlord
• Big Brother (Nineteen Eighty-Four)
• New World Order (conspiracy theory)
• Ruling class
• The Establishment
• Power elite
• Corrections officer
• YTMND

Notes[link]

References[link]

• Lighter, J.E. (Ed.). (1997). Random House Dictionary of American Slang. New York: Random House.

Miklós Jancsó
Jancsó at his home, 2000
Born	(1921-09-27) September 27, 1921 (age 90) Vác, Hungary
Occupation	Film director, screenwriter, producer, actor
Years active	1950–present
Spouse	Katalin Wowesznyi (1949–?) Márta Mészáros (1958-?) Zsuzsa Csákány (1981-present)

Miklós Jancsó (born September 27, 1921, Vác) is a Hungarian film director and screenwriter.

Jancsó achieved international prominence from the mid-1960s onwards, with works including The Round Up (Szegénylegények, 1965), The Red and the White (Csillagosok, katonák, 1967) and Red Psalm (Még kér a nép, 1971).

Jancsó's films are characterized by visual stylization, elegantly choreographed shots, long takes, historical periods, rural settings, and a lack of psychoanalyzing. A frequent theme of his films is the abuse of power. His works are often allegorical commentaries on Hungary under Communism and the Soviet occupation, although some critics prefer to stress the universal dimensions of Jancsó's explorations. Towards the end of the 1960s and especially into the 1970s, Jancsó's work became increasingly stylized and overtly symbolic.

Early life[link]

Miklós Jancsó was born to Sandor Jancsó, a Hungarian, and Angela Poparad, a Romanian.^[1][2] After graduation he studied law in Pécs, receiving his degree in Kolozsvár (Cluj) in 1944. He also took courses in art history and ethnography, which he continued to study in Transylvania. After graduating, Jancsó served in World War II and was briefly a prisoner of war.^[2] He registered with the legal Bar but avoided a legal career.

After the war, Jancsó enrolled in the Academy of Theatre and Film Arts in Budapest. He received his Diploma in Film Directing in 1950. Around this time Jancsó began working on newsreel footage and reported on such subjects as May Day celebrations, agricultural harvests and state visits from Soviet overseers.^[2]

Career[link]

1950s[link]

Jancsó first started directing films in 1954 by making documentary newsreels. Between 1954 and 1958 Jancsó made newsreel shorts whose subjects ranged from a portrait of Hungarian writer Zsigmond Moricz in 1955 to the official Chinese state visit in 1957.^[2] Although these films do not reflect Jancsó's aesthetic development, they gave the director the opportunity to master the technical side of film-making while also enabling him to travel around Stalinist Hungary and see firsthand what was happening there.

In 1958, he completed his first full-length feature film, The Bells Have Gone to Rome, which starred Miklós Gábor. In the film a group of Hungarian schoolboys are pressured to join the army by Nazi Germans and fight against the Russians on the eastern front. As the schoolboys begin to learn about and understand the Nazi regime, they reject the Germans offer. Jancsó now dismisses this early work.^[2]

Jancsó then returned to documentary filmmaking, including a collaboration with his wife Márta Mészáros.^[2] In 1959 he met Hungarian author Gyula Hernádi, who collaborated on Jancsó's films until his death in 2005.

1960s[link]

After contributing to the film Három csillag with Zoltán Várkonyi and Károly Wiedermann in 1960, Jancsó's next feature film was Cantata (Oldás és kötés) in 1962. The film starred Zoltán Latinovits and Andor Ajtay, and was written by Jancsó from a short story by József Lengyel. In the film Latinovits plays a young doctor with more humble roots who grows tired of his more intellectual life and career as a surgeon in Budapest. He decided to revisit his place of birth: his father's farm in the Hungarian plains and is affected by the connection to nature that he had forgotten in the city. He meets his former teacher, who reminds him of long forgotten childhood memories. In the end Latinovits learns to appreciate both his easy life in the city and the country life of his youth that made it all possible. The film received mixed reviews from film critics in Hungry, but won a prize from the Hungarian Critics Circle.^[2]

Jancsó's next film was My Way Home (Így jöttem), released in 1964. It was his first collaboration withscreenwriter Gyula Hernádi and starred András Kozák and Sergei Nikonenko. In the film Kozák plays Jozak, a teenaged deserter of Hungary'sNazi-run army at the end of World War II. He is twice captured by the Russian army, where he is put in charge of watching over a flock of sheep. There he befriends a young Russian soldier (Nikonenko), who is dying of a stomach wound. The two friends, who cannot communicate through language, begin to act like young boys and innocently play games together, forgetting their roles of captor and prisoner. The Russian soldier finally dies of his wound and Jozak again begins his journey home, wearing his dead friend's Russian army uniform to stay warm.^[2]

While My Way Home had received modest international attention, his next feature in 1965, The Round-Up (Szegénylegények), was a huge hit domestically and internationally and is often considered a significant work of world cinema. The film was again written by Hernádi and starred János Görbe, Zoltán Latinovits, Tibor Molnár, Gábor Agárdy and András Kozák.

The Round-Up takes place shortly after a failed Hungarian uprising against Austrian rule in 1848 and the attempts by the authorities to weed out those who took part in the rebellion. The brutal, dictatorial methods depicted in the film were read as an allegory for the clampdown that happened following Hungary's failed 1956 uprising against Russian-imposed Communism. The film was shot in widescreen in black and white by regular Jancsó collaborator Tamás Somló. Although it is Jancsó most famous film, The Round-Up does not exhibit many of his trademark elements to the degree to which he would later develop them: thus, the takes are comparatively short and although the camera movements are carefully choreographed they do not exhibit the elaborate fluid style that would become distinctive in later films. The film does, though, use Jancsó's favorite setting, the Hungarian puszta (plain), shot in characteristically oppressive sunlight.

The Round-Up premiered at the 1966 Cannes Film Festival and was a huge international success. Hungarian film critic Zoltan Fabri called it "perhaps the best Hungarian film ever made."^[2] Film critic Derek Malcolm included The Round-Up in his list of the 100 greatest films ever made. In Hungary, the film was seen by over a million people (in a country with a population of 10 million).

Jancsó's next work The Red and the White (Csillagosok, katonák, 1967) was a Russian-Hungarian co-production to celebrate the 50th anniversary of the October 1917 revolution in Russia. Jancsó, though, set the action two years later during the Russian Civil War and, rather than producing a celebration of the Communist's military struggle to control Russia, he made an anti-heroic film depicting the senselessness and brutality of armed combat. In the film, the Russian White army is depicted as being just as savage and murderous as the Soviet Red army. The Red and the White was eventually banned in the Soviet Union and not shown for decades. The film starred József Madaras, Tibor Molnár and András Kozák and was written by Jancsó.

Along with The Confrontation, The Red and the White would have premiered at the 1968 Cannes Film Festival,^[3] but the festival was canceled due to the events of May 1968 in France. Internationally this film was Jancsó's biggest success, and received critical acclaim in Western Europe and the United States. It won the Best Foreign Film award from the French Syndicate of Cinema Critics. Along with Red Psalm (1971) it is featured in the book "1001 Films You Must See Before You Die".

Jancsó the made Silence and Cry (Csend és kiáltás) in 1968. The film stars András Kozák as young revolutionary who goes into hiding in the country after the failed 1919 Hungarian Revolution. Kozák ishidden by a sympathetic farmer who is suspected by and constantly humiliated by the White Army. The farmer's wife is attracted to Kozák and begins to poison her husband. Kozák's morality compel him to turn the farmer's wife into the White Army.^[2] This was the first film that Jancsó shot with cinematographer János Kende and was co-written by Gyula Hernádi and Jancsó.

Also in 1968, Jancsó shot his first work in color, The Confrontation (Fényes szelek, 1969). It also was the first film to introduce song and dance as an essential part of the film, elements that would become increasingly important in his work of the 1970s and his recent Pepe and Kapa films. The film stars Andrea Drahota, Kati Kovács and Lajos Balázsovits.

The film revolves around real events that took place when Hungry attempted to renovate its education system after the Communists came to power in 1947. In the film revolutionary students from one of the communist People's Colleges start a campaign to win over students from an older Catholic college. The campaign begins with songs and slogans, but eventually turns to violence and book burning.^[2]

Jancsó ended the decade with Sirokkó (Winter Wind) in 1969. The film starred Jacques Charrier, Marina Vlady, Ewa Swann, József Madaras, István Bujtor, György Bánffy and Philippe March. Jancsó and Hernádi wrote the script in collaboration with Francis Girod and Jacques Rouffio. The film depicts a group of Croat ancharcists in the 1930s who plot to assassinate King Alexander I of Yugoslavia.^[2]

1970s[link]

In the late 1960s, Jancsó's films veered more towards symbolism, the takes became longer and the visual choreography became more elaborate. This found full fruition in the 1970s, when he took these elements to extremes. With regards shot-length, for example, Elektreia (Szerelmem, Elektra, 1974) consists of just 12 shots in a film lasting 70 minutes. This highly stylized approach (in contrast to the more realist approach of the 1960s) received widest acclaim with Red Psalm (Még kér a nép, 1971), which won Jancsó the Best Director award at Cannes in 1972. Like The Round-Up, Red Psalm focuses on a doomed uprising.

In the latter part of the 1970s, Jancsó started work on the ambitious Vitam et sanguinem trilogy, but only the first two films, Hungarian Rhapsody (Magyar rapszódia, 1978) and Allegro Barbaro (1978) were made as critical reaction was muted. At the time, the films were the most expensive to have been produced in Hungary. During the 1970s, Jancsó divided his time between Italy and Hungary and made a number of films in Italy, the best known of which is Private Vices, Public Virtues (Vizi privati, pubbliche virtù, 1975), an interpretation of the Mayerling affair. His Italian films, though, have been critically derided. Unlike Jancsó's 1980s films, there has been no general critical reassessment of his Italian works and they remain the most obscure part of his filmography.

1980s[link]

Jancsó's 1980s films were not successful and at the time some critics accused Jancsó of simply rehashing visual and thematic elements from his previous films. However, more recently these works have been re-evaluated and some critics consider this period to contain Jancsó's most important works.^[4]

The Tyrant's Heart (A zsarnok szíve, avagy Boccaccio Magyarországon, 1981) can be considered a transitional film between the famous historical works of the 1960s and '70s and Jancsó's later, more ironic and self-aware films. While it still has a historical setting (a 15th-century palace in Hungary), the film's ontological inquiry groups it more easily with the director's later period. The film deliberately undercuts the audience's ability to construct a notion of reality in the plot, which contradicts itself and includes many post-modern interventions to raise questions about its own manipulative nature.

His 1985 film Dawn (A hajnal) was entered into the 36th Berlin International Film Festival.^[5]

Later in the decade, Jancsó dispensed with the historical rural settings of the Hungarian puszta and shifted to contemporary urban Budapest. Thus Season of Monsters (Szörnyek évadja, 1986) became the first Jancsó film with scenes in of contemporary Budapest since Cantata 23 years earlier. Although this film is set in a contemporary environment, very little of it is set in the city and much of it still on the puszta. While some new visual tropes were introduced (including a fascination with television screens that show clips of later or earlier action in the film), others, such as candles and naked women, were preserved. In later films of the decade Jancsó continued to use the surrealistic-parodistic style he developed in "Season". These films - at last - are set in an urban environment.

Although some critics reacted positively (Season of Monsters, for example, won an honorable mention at Venice for creating "a new picture language"), critical reaction generally to these films was very harsh indeed, with some critics labeling them as self-parody. More recently, critics have been kinder to these dense and often deliberately obtuse films, with some considering his 1980s work to be his most compelling, but a full rehabilitation has been hindered by the fact that these works are very rarely screened.

1990s and 2000s[link]

In the early 1990s, Jancsó made two films that thematically can be grouped with the works from the 1980s, God Walks Backwards (Isten hátrafelé megy, 1990) and Blue Danube Waltz (Kék Duna keringő, 1991). Although they continue the work of the previous decade, they are also reactions to the Hungary's new post-Communist reality and explore the inherent power struggles. After a long break from making full-length features, Jancsó returned with The Lord's Lantern in Budapest (Nekem lámpást adott kezembe az Úr Pesten, 1999), which proved to a be a surprising come-back for the director. The film largely (but not entirely) dispenses with long takes and choreographed camera movements, and for this Jancsó started working with a new director-of-photography Ferenc Grunwalsky (who is also a director in his own right). The loose plot follows two gravediggers Pepe and Kapa as they try to make sense of the shifting realities of post-Communist Budapest. Despite mocking young Hungarians for their shallowness, the film proved a minor hit with them, helped by the performances by some of Hungary's top music acts in the film.

In the late 1990s, Jancsó's career revived with a series of improvised low-budget films that were witty and self-deprecating. As well as doing relatively well at the Hungarian box office for art house fare, these films have been popular with a new generation of younger viewers. The success of The Lord's Lantern in Budapest has led to a succession of Pepe and Kapa films (six so far, the last in 2006 at the age of 85). Although all of these films are rooted in the present, recent ones have also seen Jancsó return to his earlier love of historical themes, including depictions of the Holocaust and Hungary's devastating defeat to the Ottomans in 1526, usually in the context of criticizing Hungarians for not understanding the meaning of their own history. These films are highly popular among young cinephiles, mainly for the post-modernist, contemporary approach to filmmaking, the black, absurd humor and the appearance of several popular alternative and/or underground bands and persons. Jancsó has also cemented his reputation by making appearances in a number of films. As well as appearing as himself in the Pepe and Kapa films, he has also had guest roles in works by young, up-and-coming Hungarian directors.

In addition to feature films, Jancsó has made a number of shorts and documentaries throughout his career and from 1971 into the 1980s also directed work for the theater. Miklós Jancsó has been honorary scholar at the University of Theatre and Film Arts in Budapest since 1988, and was an affiliate at Harvard between 1990 and 1992.

Politics[link]

During the Communist era Jancsó was often criticized for being formalist, nationalist and generally against the Socialist ideology. From the 1990s onwards Jancsó became known for loudly supporting Hungarian liberal party SZDSZ. Many of his claims, like his wry dismissal of Hungary and its history made him a somewhat controversial figure.^{[citation needed]} He also campaigns for the legalization of cannabis.

Personal life[link]

He married Katalin Wowesznyi in 1949; their two children are Nyika (Miklós Jancsó Jr., b.1952) and Babus (Katalin Jancsó, b.1955). After divorcing Wowesznyi, he married film director Márta Mészáros in 1958. In 1968 Jancsó met Italian journalist and script authoress Giovanna Gagliardo in Budapest. They moved to Rome, where he worked for nearly a decade, with occasional, short periods in Budapest. In 1980 he separated from Gagliardo and married film editor Zsuzsa Csákány in 1981. They had a son, Dávid, in 1982.

Awards[link]

He was awarded Best Director for Red Psalm in Cannes 1972. In 1973 he was awarded the prestigious Kossuth Prize in Hungary. He received awards for his life work in 1979 and 1990, at Cannes and Venice respectively.

Filmography[link]

Features[link]

• 1958 The Bells Have Gone to Rome
• 1962 Cantata
• 1964 My Way Home
• 1965 The Round-Up
• 1967 The Red and the White
• 1968 Silence and Cry
• 1969 Decameron '69
• 1969 The Confrontation
• 1969 Sirokkó
• 1970 Égi bárány
• 1970 La pacifista
• 1971 La tecnica e il rito (TV)
• 1972 Red Psalm
• 1974 Roma rivuole Cesare (TV)
• 1975 Electra, My Love
• 1976 Private Vices, Public Virtues
• 1978 Hungarian Rhapsody
• 1979 Allegro barbaro
• 1981 The Tyrant's Heart
• 1984 Faustus doktor boldogságos pokoljárása (TV mini-series)
• 1984 Omega, Omega, Omega (TV movie)
• 1986 Dawn
• 1987 Season of Monsters
• 1989 Jesus Christ's Horoscope
• 1991 God Walks Backwards
• 1992 Blue Danube Waltz
• 1999 The Lord's Lantern in Budapest
• 2000 Anyád! A szúnyogok
• 2001 Last Supper at the Arabian Gray Horse
• 2002 Wake Up, Mate, Don't You Sleep
• 2004 A mohácsi vész
• 2006 Ede megevé ebédem
• 2010 So Much for Justice!

Documentaries and Shorts[link]

• 1960 Three Stars
• 1965 Jelenlét (short)
• 1966 Közelröl: a vér (short)
• 1968 Vörös május
• 1970 Füst
• 1977 Laboratorio teatrale di Luca Ronconi (TV documentary)
• 1978 Második jelenlét (documentary short)
• 1984 Muzsika (TV movie)
• 1986 Harmadik jelenlét (documentary short)
• 1997 Hösök tere - régi búnk és... I (short)
• 1994 A Kövek üzenete - Máramaros (documentary)
• 1994 Message of Stone - Budapest (documentary)
• 1996 Szeressük egymást, gyerekek! (segment "Anagy agyhalal/The Great Brain Death")
• 1997 Hösök tere - régi búnk és... II (short)
• 1997 Játssz, Félix, játssz! (documentary)
• 1997 Hösök tere - régi búnk és... I (short)
• 1998 Sír a madár
• 2004 Európából Európába (documentary short) (segment 3)

Newsreel documentaries[link]

• 1950 Kezünkbe vettük a béke ügyét
• 1951 A szovjet mezögazdasági küldöttek tanításai
• 1952 A 8. szabad május 1
• 1953 Közös után
• 1953 Arat az orosházi Dózsa
• 1954 Ösz Badacsonyban
• 1954 Galga mentén
• 1954 Emberek! Ne engedjétek!
• 1954 Éltetö Tisza-víz
• 1954 Egy kiállítás képei
• 1955 Varsói világifjúsági talákozó I-III
• 1955 Emlékezz, ifjúság!
• 1955 Egy délután Koppánymonostorban
• 1955 Angyalföldi fiatalok
• 1956 Móricz Zsigmond 1879-1942
• 1957 Színfoltok Kínából
• 1957 Peking palotái
• 1957 Kína vendégei voltunk
• 1957 Dél-Kína tájain
• 1957 A város peremén
• 1958 Derkovits Gyula 1894-1934
• 1959 Izotópok a gyógyászatban
• 1959 Halhatatlanság
• 1960 Az eladás müvészete
• 1961 Indiántörténet
• 1961 Az idö kereke
• 1961 Alkonyok és hajnalok
• 1963 Hej, te eleven fa...

References[link]

External links[link]

Wikimedia Commons has media related to: Miklós Jancsó

• Miklós Jancsó at the Internet Movie Database
• Jancsó's biography at Hungary.hu
• http://www.kakanien.ac.at/weblogs/kineast/1119203530
• http://www.jancso.film.hu/index.ivy

Jacques Rancière

Born	1940 Algiers, French Algeria
Era	20th / 21st-century philosophy
Region	Western Philosophy
School	Marxism
Main interests	Politics Aesthetics
Notable ideas	theories of democracy, disagreement, visual aesthetics
Influenced by Plato, Aristotle, Ballanche, Jacotot, Marx, Althusser, Foucault, Lacan, Lyotard
Influenced Laclau, Žižek, Critchley, Bernard Aspe, Kristin Ross, Todd May

Jacques Rancière (born Algiers, 1940) is a French philosopher, Professor of Philosophy at European Graduate School in Saas-Fee and Emeritus Professor of Philosophy at the University of Paris (St. Denis) who came to prominence when he co-authored Reading Capital (1968), with the structural Marxist philosopher Louis Althusser.^[1]

Life and work[link]

Rancière contributed to the influential volume Reading Capital (though his contribution is not contained in the partial English translation) before publicly breaking with Althusser over his attitude toward the May 1968 student uprising in Paris; Rancière felt Althusser's theoretical stance didn't leave enough room for spontaneous popular uprising.^[2]

Since then, Rancière has departed from the path set by his teacher and published a series of works probing the concepts that make up our understanding of political discourse, such as ideology and proletariat. He sought to address whether the working class in fact exists, and how the masses of workers that thinkers like Althusser referred to continuously enter into a relationship with knowledge, particularly the limits of philosophers' knowledge with respect to the proletariat. An example of this line of thinking is Rancière's book entitled Le philosophe et ses pauvres (The Philosopher and His Poor, 1983), a book about the role of the poor in the intellectual lives of philosophers.

Most recently Rancière has written on the topic of human rights and specifically the role of international human rights organizations in asserting the authority to determine which groups of people — again the problem of masses — justify human rights interventions, and even war.

Rancière's book, The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation, published in 1981, was written for educators and educators-to-be. In the text, through the story of Joseph Jacotot, Rancière challenges his readers to consider equality as a starting point rather than a destination. In doing so, he asks educators to abandon the cultural deficiency and salvation themes so pervasive in educational rhetoric today. Rather than requiring informed schoolmasters to guide students towards prescribed and alienating ends, Rancière argues that educators can channel the equal intelligence in all to facilitate their intellectual growth in virtually unlimited directions. The schoolmaster need not know anything (i.e., s/he may be ignorant). With the premise that all are of equal intelligence, and the insights from which knowledge is constructed can be found in any collective educational exercise founded on this principle, Ranciere claims that the poor and disenfranchised should feel perfectly able to teach themselves whatever it is they want to know. He believes that anyone can lead and that the oppressed should not feel bound to experts or reliant on others for their intellectual emancipation.

Influence[link]

In 2006, it was reported that Rancière's aesthetic theory had become a point of reference in the visual arts, and Rancière has lectured at such art world events as the Frieze Art Fair.^[2] Former French presidential candidate Ségolène Royal has cited Rancière as her favourite philosopher.^{[3][citation needed]}

Selected bibliography[link]

Rancière's work in English translation

• Reading Capital (1968) (With Louis Althusser, Roger Establet, Pierre Macherey and Étienne Balibar - in the French original edition)

• “Reply to Levy”. Telos 33 (Fall 1977). New York: Telos Press.

• The Nights of Labor: The Workers' Dream in Nineteenth-Century France (1989) - This book is an influential work of social history which examines in detail the records of ordinary workers' lives in order to produce a new picture of their surprising political sophistication ISBN 0-87722-833-7.

• The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation (1991) - This book describes the emancipatory education of Joseph Jacotot, a post-Revolutionary philosopher of education who discovered that he could teach things that he himself did not know. The book is both a history and a contemporary intervention in the philosophy and politics of education, through the concept of autodidactism; Rancière chronicles Jacotot's "adventures," but he articulates Jacotot's theory of "emancipation" and "stultification" in the present tense ISBN 0-8047-1969-1.

• The Names of History: On the Poetics of Knowledge (1994) - This is a relatively brief but dense book, arguing for an epistemological critique of the methods and goals of the traditional study of history. It has been influential in the philosophy of history

• On the Shores of Politics (1995): ISBN 0-86091-637-5

• Disagreement: Politics and Philosophy (1998) - This book is a return to classical texts about the origins and meaning of politics, in an attempt to re-theorize a "disagreement" which may not be simply transcendable ISBN 0-8166-2844-0.

• Short Voyages to the Land of the People (2003): ISBN 0-8047-3682-0

• The Politics of Aesthetics: The Distribution of the Sensible, ed. and transl. by Gabriel Rockhill (2004): ISBN 978-0-8264-8954-8

• The Philosopher and His Poor, ed. Andrew Parker, co-trans. John Drury, Corinne Oster, and Andrew Parker (2004): ISBN 978-0-8223-3274-9

• The Future of the Image (2007): ISBN 1-84467-107-0

• Hatred of Democracy (2007): ISBN 978-1-84467-098-7

• The Aesthetic Unconscious (2009), transl., Debra Keates & James Swenson: ISBN 978-0-7456-4644-2

• The Emancipated Spectator (2010): ISBN 978-1-84467-343-8

• Dissensus: On Politics and Aesthetics (2010): ISBN 978-1-84706-445-5

• Chronicles of Consensual Times (2010), tr. by Steven Corcoran: ISBN 978-0-8264-4288-8

• The Politics of Literature (2011), tr. by Julie Rose: ISBN 978-0-7456-4531-5

• Staging the People: The Proletarian and His Double (2011), tr. by David Fernbach: ISBN 978-1-84467-697-2

• Althusser's Lesson (2011) - The first English translation of Rancière’s first book, in which he explores and begins to move beyond the thought of his mentor, Louis Althusser (tr. by Emiliano Battista) ISBN 978-1-4411-0805-0

• Mallarme: The Politics of the Siren (2011), tr. by Steven Corcoran: ISBN 978-0-8264-3840-9

Selected articles in English

• "Who Is the Subject of the Rights of Man?" The South Atlantic Quarterly, Volume 103, Number 2/3, Spring/Summer 2004, pp. 297–310

• "Is there a Deleuzian Aesthetics?" Tr. Radmila Djordjevic, Qui Parle?, Volume 14, Number 2, 2004, pp. 1–14

Further reading

• Jacques Rancière: Politics, History, Aesthetics. Eds. Phil Watts and Gabriel Rockhill. (Durham & London: Duke University Press, 2009). Includes essays by, among others, Kristin Ross, Alain Badiou, Jean-Luc Nancy, Peter Hallward, Bruno Bosteels, Andrew Parker, and Étienne Balibar. Also includes an Afterword by Rancière: "The Method of Equality: An Answer to Some Questions".

• Politica delle immagini. Su Jacques Rancière, ed. by Roberto De Gaetano (Cosenza: Pellegrini, 2011). Includes essays by, among others, Rancière, Alain Badiou, Jean-Louis Leutrat, Dork Zabunyan.

Films[link]

• Marx Reloaded, Arte, April 2011.

Video Lectures[link]

• Jacques Rancière. "What Makes Images Unacceptable?" Pacific Northwest College of Art. Portland, Oregon, February 29, 2008
• Jacques Rancière. "Nights of Labour." Sarai Centre for the Centre for the Study of Developing Societies (CSDS). Video Lecture. February 6, 2009
• Jacques Rancière. "Negation and Cinematic Vertigo." European Graduate School. Video Lecture. August 2009

Interviews[link]

• "Democracy Means Equality", interview in Radical Philosophy
• Politics and Aesthetics, Jacques Ranciere interviewed by Peter Hallward, 2003
• Eurozine interview with Ranciere, 2006
• Art of the possible: Fulvia Carnevale and John Kelsey in conversation with Jacques Rancière
• "Art Is Going Elsewhere. And Politics Has to Catch It", Jacques Rancière interviewed by Sudeep Dasgupta, 2008
• "Aesthetics against Incarnation: An Interview by Anne Marie Oliver," Critical Inquiry, 2008
• (French) "Jean-Luc Godard, La religion de l'art. Entretien avec Jacques Rancière" paru dans CinémAction, « Où en est le God-Art ? », n° 109, 2003, pp. 106–112, reproduit sur le site d'analyse L'oBservatoire (simple appareil).

Short Articles[link]

• Ten Theses on Politics, 2001
• "Guantanamo, Justice, and Bushspeak: Prisoners of the Infinite", CounterPunch article (2002)
  • (French) A special issue of the journal Labyrinthe, 2004 (in French): "Jacques Rancière, l'indiscipliné"
• Preface to new Hindi translation of 'Nights of Labour', January 2009

References[link]

External links[link]

• Jacques Rancière Faculty Page at European Graduate School
• Blog. Discussions and updates on Jacques Rancière
• With and Around Jacques Rancière. Art and Research. Volume 2. No. 1. Summer 2008
• Thomas Campbell Rancière's Lessons. [1]
• Ben Davis. Jacques Rancière, The Politics of Aesthetics. artnet. Book Review. August 17, 2006.
• Audio Recordings of guest lectures given at U.C. Berkeley. February/March 2008
• Luka Arsenjuk. On Jacques Rancière. Eurozine, 1 March 2007
• (Spanish) Adolfo Vásquez Rocca. Jacques Rancière; politics and aisthesis
• Eli Bornowsky Notes on the Politics of Aesthetics. Fillip. Book Review. 2006
• Kristin Ross. Kristin Ross on Jacques Rancière Artforum. March 2007
• Juha Suoranta (2010). Jacques Rancière on Radical Equality and Adult Education. The Encyclopaedia of Philosophy of Education [2].
• 'The Politics of Aesthetics': Jacques Rancière Interviewed by Nicolas Vieillescazes this interview piece was first posted: 12-01-09 at the website of Naked Punch