<abstract xmlns="http://www.w3.org/1999/xhtml"><p>The essay analyses the representation of polyphonic memory in two groundbreaking Hungarian documentary films, made thirty years apart: János and Gyula Gulyás’s <italic>I was at the Isonzo, too</italic> (<italic>Én is jártam Isonzónál,</italic> 1984–87) and Bálint Révész’s <italic>Granny Project</italic> (<italic>Nagyi projekt</italic>, 2017). The earlier film was made in the 1980s, under the state-socialist system, when doing memory work of both World Wars was limited, if not forbidden. The second film was made recently, in 2017. They differ from each other in many ways, but instinctively they chose the same solution for representing and working out traumas: through transnational dialogue. They focus on traumatic experiences of the past, changing national, so-called monologic memory into a broad perspective, putting <xref ref-type="bibr" rid="j_ausfm-2019-0017_ref_003_w2aab3b7b5b1b6b1ab1ab3Aa">Aleida Assmann’s (2005)</xref>  theory of dialogic memory into practice.<sup>1</sup></p></abstract>

The essay analyses the representation of polyphonic memory in two groundbreaking Hungarian documentary films, made thirty years apart: János and Gyula Gulyás’s I was at the Isonzo, too (Én is jártam Isonzónál, 1984–87) and Bálint Révész’s Granny Project (Nagyi projekt, 2017). The earlier film was made in the 1980s, under the state-socialist system, when doing memory work of both World Wars was limited, if not forbidden. The second film was made recently, in 2017. They differ from each other in many ways, but instinctively they chose the same solution for representing and working out traumas: through transnational dialogue. They focus on traumatic experiences of the past, changing national, so-called monologic memory into a broad perspective, putting Aleida Assmann’s (2005)  theory of dialogic memory into practice.1

Veterans and Grannies. The Polyphony of Memory in Two Hungarian Documentary Films

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

The essay analyses the representation of polyphonic memory in two groundbreaking Hungarian documentary films, made thirty years apart: János and Gyula Gulyás’s...

Veterans and Grannies. The Polyphony of Memory in Two Hungarian Documentary Films

Data publikacji: 30 paź 2019

Zakres stron: 97 - 114

DOI: https://doi.org/10.2478/ausfm-2019-0017

Słowa kluczowe
First World War, Second World War, Holocaust, polyphonic memory, dialogic memory, sense memory

© 2019 Réka Sárközy, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Veterans and Grannies. The Polyphony of Memory in Two Hungarian Documentary Films

Data publikacji: 30 paź 2019

Zakres stron: 97 - 114

DOI: https://doi.org/10.2478/ausfm-2019-0017

Słowa kluczoweFirst World War, Second World War, Holocaust, polyphonic memory, dialogic memory, sense memory

© 2019 Réka Sárközy, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Słowa kluczowe
First World War, Second World War, Holocaust, polyphonic memory, dialogic memory, sense memory