Chants Populaires Hongrois

Authoritative edition of early piano works, based on the composer's corrections from his own memorabilia and original editions. Includes an Introduction, translations of folk-song text, and commentary.

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Times Places Passages: Ethnological Approaches in the New Millennium, was the theme expressed in the title of the Seventh International Congress of the Socit Internationale dEthnologie et de Folklore (SIEF) in Budapest. This ethnological congress, held at the beginning of the new millennium, takes its inaugural role seriously. What is demanded from us is that we should try to imagine what will happen to human society, and that we should be prepared for the historical moment of transition. We should know where we have come from, where we are now, and where we are going in the new era we are entering. These tasks require a critical and reflective discussion of the theoretical and methodological possibilities of ethnology, including the new politics of forming ethnological knowledge in a global world. This book is a selection of the papers presented at the congress and contains approximately 80 articles.

Film piracy began almost immediately after the birth of the film industry. Initially it was a within-the-industry phenomenon as studios stole from each other. As the industry grew and more money was involved, outsiders became more interested in piracy. Stolen material made its way offshore since detection was less likely. Hollywood's major film studios vigorously pursued pirates and had the situation fairly well under control by the middle 1970s--not eliminated but reduced to a low level--until videocassettes arrived. This work begins with a discussion of some of the earliest cases of piracy in vaudeville. It then considers how the problem continued to grow exacerbated by the lack of legal resource available to performers, and the ways film exhibitors cheated the film distributors and companies and the measures that the distributors and companies took to prevent piracy over the years. Also examined are the practices of American theater owners who tried to cheat Hollywood, especially through the practice known as bicycling--extra, unpaid for screenings of a legitimately held film--and altering paperwork to reduce the money owed to distributors on films screened on percentage contracts. Also examined, to a lesser degree, are Hollywood's own efforts to cheat, including the disregard of copyrights held by others.