Abstract
ABSTRACTThis study of the Hungarian science fiction film Szíriusz/Sirius seeks to show that stifling state control and central oversight of production practices impacted on the aesthetics of Hungarian cinema. Hungarian films of the 1940s, shot on state-owned sound stages using identikit sets and costumes, offered audiences visions of a glorious past characterized by interiority and drabness that pointed to a limit to the nostalgic imagining of Hungary's past.
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