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dc.contributor.authorFackler, Julius Schartz
dc.date.accessioned2021-10-08T18:52:02Z
dc.date.available2021-10-08T18:52:02Z
dc.date.issued2007-05-31
dc.identifier.urihttp://hdl.handle.net/1808/31997
dc.descriptionThesis (M.A.)--University of Kansas, Theatre & Film, 2007.en_US
dc.description.abstractThis thesis defines Andrzej Munk's feature films as a cinema of internalized exile by conducting a stylistic analysis of Man on the Tracks (1957), Eroica, (1958), Bad Luck (1960), and Passenger (1961). I extend Melinda Szaloky's use of the concept of internal exile in her thematic analysis of postwar Hungarian orphan films and discuss Munk's tight and claustrophobic cinema using Hamid Naficy's concept of the "closed cinematic form." I argue first, Munk's cinema is one of internalized exile, because his mise-en-scene expresses the characters' isolation, anxiety, and feelings of homelessness because of the burden of nationalism, and second because Munk's characters find no agency from international spaces due to limited mobility imposed by the state and exclusion from the international community.en_US
dc.publisherUniversity of Kansasen_US
dc.rightsThis item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.en_US
dc.subjectCommunication and the artsen_US
dc.subjectSocial sciencesen_US
dc.subjectPolanden_US
dc.titleAndrzej Munk’s cinema of internalized exile (1957--1961)en_US
dc.typeThesisen_US
dc.thesis.degreeDisciplineTheatre & Film
dc.thesis.degreeLevelM.A.
kusw.bibid6599292
dc.rights.accessrightsopenAccessen_US


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