Abstract The article focuses on Hungarian films produced between 1939–1944 by examining how they tend to refrain from representing conflicts, and scrutinizing the political as well as social issues. However, directors started to revise this avoidance of conflicts by employing a so-called noir sensibility from the beginning of the Second World War in certain films, especially in “doomed love movies” such as Deadly Spring (Halálos tavasz, 1939), Mountain Girl (A hegyek lánya, 1942), and A Woman Looks Back (Egy assszony visszanéz, 1942), or melodramas, such as At the Crossroads (Keresztúton, 1942), Lent Life (Kölcsönadott élet, 1943), and Black Dawn (Fekete hajnal, 1943). The essay also offers a case study of the banned Hungarian movie Half a Boy (Egy fiúnak a fele, shot in 1943, but only shown in February 1946) by D. Ákos Hamza, which represented and protested against the stigmatization of Jewish people. Half a Boy is an often-cited emblematic film of its era. It is also an enigmatic one: it is a work full of social and political-historical reflections. Its humanistic point of view makes it outstanding in its era, nevertheless it is also rather ambivalent in terms of its orientation of values.

中文翻译：

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苦恼的魅力。1930 年代和 1940 年代匈牙利电影的类型和政治社会背景

摘要 本文重点关注 1939 年至 1944 年间制作的匈牙利电影，考察它们如何避免表现冲突，并审视政治和社会问题。然而，导演们开始修改这种避免冲突的方式，在某些电影中采用了二战初期的所谓黑色敏感性，特别是在“注定爱情电影”中，例如《致命的春天》（Halálos tavasz，1939）、《山女》。 (A hegyek lánya, 1942), 和回头看的女人 (Egy assszony visszanéz, 1942)，或情节剧，例如在十字路口 (Keresztúton, 1942), Lent Life (Kölcsönadott élet, 1943) 和 Black Dawn (Fekete hajnal , 1943)。这篇文章还提供了 D. Ákos Hamza 的被禁匈牙利电影《半个男孩》（Egy fiúnak a fele，1943 年拍摄，但仅在 1946 年 2 月上映）的案例研究，它代表并抗议对犹太人的污名化。半个男孩是其时代经常被引用的标志性电影。这也是一部神秘的作品：它是一部充满社会和政治历史反思的作品。其人文主义观点使其在其时代脱颖而出，但在价值取向上也颇为矛盾。