The death of Miklós Jancsó provides a tragic apropos to evaluate the universal implication of the oeuvre of the great leftist director, who was always critical towards the world of capitalism. The Polish author comparatively analyses two movies of Wajda and two movies of Jancsó to conceptualize gripping aesthetical conclusions that introduces the two great directors into the context of both national and universal movie culture.

The participation of the Hungarian occupying troops in the Nazi genocide in the Soviet territories lately has got into the focus of attention. A nation-wide debate has emerged in Hungary, and it shows that it could be rewarding to deepen the researches among the documents kept on the shelves of the Hungarian archives as well. This document is an account of an investigation by the Hungarian authorities after the war about the sequential mass murders. It reveals that despite the former statement of the literature, the troops of the Western Group of Occupation Forces actively took part in the Holocaust.

The beginnings of Hungarian dance-house movement in its present form were in the 1970s. Nevertheless, it has important precedents already between the world wars and after WWII. There are no such widely known legendaries about these earlier folk dance movements, but it is still important to study them from the aspects of cultural- and social histories and of the history of ideas as well.

Agrarian business corporations, the main winners of globalization and the designers of the system that fulfils their demands are continuing their concentrating and expanding strategies. Endued or supported by the states and international organizations they attempts to force their socially excluding and ecologically destructive models of development on the southern countries, which also undermines the safety of food supply there.