Attila Varró:
The Hungarian Fallow. Genre adaptations in Hungarian transnational remakes

In spite of the fact that before the World War II. the Hungarian filmmaking had a fruitful and mutual remake connection with other European nations (chiefly Great-Britain and Italy), in  the second half of the century this tradition was completely oppressed. By presenting the contradictory term of „authorial remake” and positioning it between the commercial remake and paraphrase, the essay examines the Hungarian remakes reemerged at the millenium from the viewpoint of transcultural adaptation. Interestingly the authorial approach equally manifests in commercial remakes of classical Hungarian comedies (shot by the same film-making duo) and all of the transcultural remakes originating from Hollywood which uniformly are the works of Hungarian directors with significant personal features. By the genre analysis of Passion by György Fehér (The Postman Always Ring Twice), Rinaldó by Tamás Tóth (The Magnificent Seven) and Hungarian Beauty by Péter Gothár (American Beauty) the essay proves the general rule of genre deconstruction in authorial remakes and it points out the presence of a common genre denominator, the romantic drama which adapts the Hollywood genres such as film noir, western and love melodrama to the habitat of Hungarian film – emerging as a dominant genre in our national cinema.