Donor challenge: Your generous donation will be matched 2-to-1 right now. Your $5 becomes $15! Dear Internet Archive Supporter,. I ask only. Postwar Quest for a New Film Language. Hester Baer. Bela Balazs: Early Film Theory. Visible Man and The Spirit of Film. Bela Balazs, edited by Erica Carter. Theory of the Film: Sound by Bela Balazs. The Acoustic World It is the business of the sound film to reveal for us our acoustic environment,, the acoustic.
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THEORY OF THE FILM : BELA BALAZS : Free Download, Borrow, and Streaming : Internet Archive
This movement of the rag is also quite easy to understand— it is the last convulsion of a death agony. Content in this edit is translated from the existing German Wikipedia article at [[: In the restless cross-cutting of close-ups, tiny gestures of boiling excitement if and bubble. This page has been accessed 3, times. This article may be expanded with text translated from the corresponding article in Hungarian. After a few be,a the scene would become empty and dead, because nothing happens in it.
We knew what it meant when a drunk pushed out his words with a heavy tongue through slack lips. The quick cross-cutting of close-ups can move. Lines of development are never rigidly set. But what belw did was neverthe- less only photographed theatre.
Finally an old peasant woman steps on to the platform alone and unarmed, goes to the military train and speaks, asks questions.
In this helpless, breathless struggle, this alternating between faith and despair, Lilian Gish laughs and weeps by turns perhaps a dozen times, while she stares at her seducer without saying a word. Speaks about film art as “the greatest instrument of mass influence ever devised in the whole course of human cultural history” and considers the cinematic education of the audience–teaching the public how to appreciate film art–of utmost importance.
We had known them well balzs before. No man wants to be the first to step out on to the deserted platform.
They appeared during a time when the moving image was still first emerging and when rapid changes were occurring in industrial production, cultural lifestyle, and art. Nothing like this Identification’ has ever dilm as the effect of any other system of art and it is here that the fdm manifests its absolute artistic novelty.
These mm chaaeters of a new kind who bad been introduced into Ac old art of the fteato by tibie new technical possibEi- ics. In this silent mono- logue the solitary human soul hela find a tongue more candid and uninhibited than in any spoken soHloquy, for it speaks instinctively, subconsciously. A human avalanche was let loose, carrying everything tefore it in a senseless and purposeless rush.
In the epoch of word culture the soul learnt to speak but had grown almost invisible. And unless we study its laws and possibilities very care- fully, we shall not be able to control and direct this potentially greatest instrument of mass infiuence ever devised in the whole course of human cultural history.
We have already said it ; the changing distance, the detail taken out of the whole, the close-up, the changing angle, the cutting, and what is the most important: Despite the tower of Babel there were concepts common to all behind the different words and one could ako learn the languages of others. If for some reason or another movement is arrested in a scene on the stage or in the studio, then nothing moves there any more and there can be no question of tempo or rhythm.
Conrad Veldt’s romantic, exalted, almost expressionist head, which brought him world success in the theorh immediately following the first world war, no longer appealed to the public. An ant-heap is lifeless if seen from a distance, but balzs close quarters it is teeming with busy life.
She has obtained the keys, she is in his cell, the road to freedom is open. The expression of love and tenderness does not fade off tge face, but is slowly overlaid by another emotion: What is left out and what is included have a significance of their own and this significance is provided only by the camera and transmitted to us only by the picture projected on the screen.
Béla Balázs – Monoskop
What is it that the film does not re- produce but produce, and through which it becomes an inde- pendent, basically new art after all? No lighting effects could have done it if the camera could not have been moved in relation to the object.
The motions of speech were here far more expressive and con- vincing than any spoken words could have been; hence they could be shown only in a silent film. A model attribution edit summary using German: The unsolved inner contradictions of the sound film arc manifested among other things in the fact that nearly every director prefers to avoid much speaking and wants scripts in which there is as little dialogue as possible.
Nine men dash to and fro in mad frenzy, searching for a way out. Close-ups are often dramatic revelations of what is really happening under the surface of appearances.
THEORY OF THE FILM
This was the first time in history that Europe learnt an art from America. The face itself does not change; but a warm emotion lights it up from inside and an intangible nuance turns the grimace into a real expression.
The artist could present in its primary form of manifestation the souFs bodily incarna- tion in gesture or feature. Among the red Indians and Chinese for instance the expres- sion of pain or deep sorrow often looks like a smile to our eyes.
Several hundred feet of film show nothing but big close-ups of heads, of faces. The title does not tell us.
The belq of classical film theory is predominantly understood to have been concerned with ontological and formal matters and with promoting film as an art. In each of the shapes defined by a thousand different outlines we may recog- nize one and the same object, for they all resemble their com- mon model even if they do not resemble each other.