The view from Budapest

6 The international context of Hungarian transition, 1989: the view from Budapest* László Borhi The East European revolutions International context of Hungary’s 1989 transition This chapter will examine the attitude of the USSR as well as the western powers to the transformation of Eastern Europe in the crucial year of 1989. It is primarily based on recently released Hungarian archival documents. These reveal what Soviet and western politicians told Hungarians about their attitude towards transition. The space allotted to each country’s view will reflect the

in The 1989 Revolutions in Central and Eastern Europe
Briony Tallis and Atonement

emphasises the brutal, the horrible, the farcical. He will alter the tone of the material quite radically if he needs to. The germ of the pig-hunt Robbie and Nettle embark on may be an account of a similar chase in very different circumstances, written by Lt. Colonel G.S. McKellar, now in the Imperial War Museum archives. McKellar relates that ‘a sudden stir was caused in the Brigade mess by the news that one of Madame Roehaur’s pigs had escaped from the pig farm . . . Everybody joined in the hunt, including the beautiful and charming owner of the pig farm, but without

in Reading behind the lines

frequently combined, and the selective manner in which that happened tells us how certain memories and certain myths assumed power in the domestic environment. We will return to this subject of collective memory later in the chapter but first we need to consider what has been left in the way of archival documentation. Less commonly studied than the émigrés are those provincial nobles who remained in France. These women and men had to respond to the series of laws passed by revolutionary governing bodies that affected the safety of their loved ones and their rights to

in Nobility and patrimony in modern France
Stalky & Co.

protection from the endless proliferation of different voices which they expose themselves to and guards them from cultural hybridisation. The politics of quotation, then, necessarily entails the question of the archive, where such a text is safely stored. The law of the USC: the commencement and the commandment In ‘Slaves of the Lamp, Part II’, it is revealed that Beetle, who is now a writer, is the author of the stories collected in Stalky & Co., and the story ends with his startling assertion that he is ‘responsible for the whole thing’,38 including the colonial

in In Time’s eye

Jarman, with whom he worked on four occasions: The Tempest (1979), The Last of England (1985 co-produced with James Mackay), War Requiem (1989) and a segment of the opera portmanteau film Aria (1987). Secondly, I will look in detail at his work as executive producer on Chris Petit’s film An Unsuitable Job for a Woman (1982). I will be using resources from Don Boyd’s archive at The Bill Douglas Cinema Museum at the University of Exeter, where I am the curator. Lastly, I will look at some of Boyd’s recent work running the web platform HiBROW, which produces

in British art cinema

continued to use black and white filmstock or to combine small amounts of colour with monotone in the late 1940s much as they had done a decade earlier. Retrenchment and resurgence Amateur activity did not stop entirely during wartime, either among those left at home or among those on active service. Archival records from the Imperial War Museum and other collections attest to instances

in Amateur film

3 Keeping informed and spying on Ireland A striking feature concerning the Irish and Northern Irish ­ material uncovered in the BStU archive is that a substantial part of the 6,000  photocopies are press cuttings, overwhelmingly from the West German media. There were about 1,129 articles. The origin of some of them could not be identified. There are also a few cuttings from East German newspapers and magazines like Neues Deutschland and Horizont. All newspapers used were in the German language and the only newspaper from outside the FRG and the GDR was the

in East German intelligence and Ireland, 1949–90

barbed attack, betraying his deep disaffection with the front’s cultural policy. This chapter draws on interviews and archival records to explore the unspoken contradictions of FRELIMO’s relationship to Maoism. It traces the tangible connections between China and Mozambique, and considers the theoretical parallels between FRELIMO’s early discourse on art and that of Mao Zedong in order to shed new light on how the front’s designation of a national ‘Mozambican’ art and culture actively drew from diverse ideological and aesthetic networks. Arguing that between 1970 and

in Art, Global Maoism and the Chinese Cultural Revolution

34 2 Bound together The work of the Master’s hand Archives: Band of Bikers album; ONE National Gay and Lesbian Archives Artwork: Die Kränken, Sprayed with Tears, 2017 The art dealer, poet, and found photography collector Scott Zieher tells the following story: In the spring of 1999, I was doing laundry when my superintendent greeted me coming off the basement elevator with the estate of a man who’d recently passed away. He had apparently lived on my floor, though I’d never seen any elderly neighbors. I had no prior knowledge of this apartment, but its

in Bound together
The introduction of dispersal in Bradford

themselves on the efficacy of their cherished health system, as is evidenced by a Pathé archive video.13 Yet, within the endless queues to get vaccination there was much grumbling against the Pakistanis’ cumbersome presence. And it is against this general suspicion of and resentment towards Pakistanis that dispersal was debated, introduced and implemented. Before it gets out of hand: the introduction of dispersal Unlike other LEAs (such as Brent) which were reluctant or hostile to the collection of statistics on immigrant children, Bradford proved adept at compiling

in The “desegregation” of English schools