Abstract
The Hungarian neo-avant-garde appeared in such diverse artistic fields as fine art, conceptual and visual literature, happenings, theatre performance and film. For the avant-gardists Tibor Hajas, Miklós Erdély and Tamás Szentjóby, film was both a theoretical and a practical issue. There are films documenting avant-garde activities, and there are films that are truly avant-garde. Thus, the field of film seems to provide a considerable amount of material through which scholarship can evaluate the Hungarian neo-avant-garde. This paper discusses how the evidence of film fits the interpretation of the Hungarian neo-avant-garde as belonging to the “second public”, as part of cultural opposition, and as something forbidden.
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