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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Although these human experiences tthe not rational, conceptual contents, they are nevertheless neither vague nor blurred, but as clear and unequivocal as is music.

The grey, dull texture of everyday life shows in its microdramatics many profoundly moving happenings, if we look at it carefully enough in close- up.

This possibility of placing sound also helps to hold together shots the action of which takes place in the same space. We are expected to know what happened and lo-day we do know, but when I first saw this film in Berlin, I did iiol at once understand the end of this scene.

There have, of course, long been societies of music-lovers and the like, who? Til try,’ says Lilian Gish, picks up a mirror and goes through the motions of a smile, aiding her face muscles with her fingers. The girl does not tell him who she is but arranges a scene identical with the one in which balaazs fate was decided.


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.

Psychology and philology have shown that our thoughts and feelings are determined a priori by the possibility of express- ing them. The bandits have him covered with their guns and watch his face intently. This novelty, this enrichment of subject balaxs became the specific characteristic of the photographed theatre.

The truth which stated a then existing reality has remained true, but the reality it dealt with has bolted like a runaway horse and has made new observations and interpretations necessary.

THEORY OF THE FILM : BELA BALAZS : Free Download, Borrow, and Streaming : Internet Archive

A vast physiognomical sensitivity is required if unconscious facial expressions are to be correctly assessed and used; if the expres- sions on faces, taken from a variety of situations and scenes, are to be so collated as to bring them into relation with each other and respond to each other like the phrases of a dialogue. The factory is working again and the orphanages now have plenty of orphans. They are not on the same plane and their intensity is different.


But the old visible man no longer exists to-day and the new visible man is not yet in existence. Seeing her as she speaks makes a deeper impression than if we saw her tear her hair or claw her face in despair.

Abstract The heyday of classical film theory is predominantly understood to have been concerned with ontological and formal matters and with promoting theoyr as an art. There he looks, not at the empty festive table, but at a bench laden with retorts, test-tubes and other apparatus, cheerfully glittering tools of his life’s work, his ever-faithful loyal friends.

The camera fklm at the other characters and their surroundings out of the eyes of one of the characters. He needs some sort of publicity to build it up.

Once he acted this scene: She speaks like theody for a long time; and so much audible speech would have been quite unbearable. Only the pantomime has genu- inely mute characters and hence this is a basically different form of art.

A universally valid grammar was an even more potent unifying principle holding together the individuals who in bourgeois society were prone to become estranged and isolated from each other. And why should that particular face be the truly typical and not some other face? What is required Is mt merely a history of art but a history of art lf to and inked with a history of mankind.

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. It was a beautiful valley with wonderful trees and with a wind- ing path leading away towards the mountains.

Béla Balázs

Born Herbert Bauer in theort Szeged to German-born parents. Retrieved on 24 May But what we see in a film we relate to our own selves, it is not yet ‘history’ and we laugh at our own recent selves.

What is wanted is a responsible public and canny aestheticiste. In every- day life it is not thus we see things. Hence the film we see on the screen is merely a photographic reproduction, or to be exact, the reproduction of a histrionic performance.


Nothing moves in the vault save the hands of the clock.

Béla Balázs – Monoskop

In the days of the silent film such a close-up provided an entire scene. But Hayakawa’s hard Japanese face is a mask of stone. By showing the rider riding and riding again? It is still clumsy and primitive and very far removed as yet from the refinements of word art. But the camera can get so close to the face that it can show ‘microphysiognomic’ details even of this detail of the body and then we find that there are certain regions of the face which are scarcely or not at all under voluntary control and the expression of which is neither deliberate nor conscious and may often betray emotions that contradict the general expression appearing on the rest of the face.

She reconstructs the same set-up in which the man got his first impression of her. He leads our eye inexombly from detail to dtei ttong tite line of his mintage. His struggle with a demoniac rocking-chair from which, once seated, he cannot escape.

The rules of perspec– tive are learned in school to-day by every ungifted dauber, but that does not make him a greater artist than Giotto who knew nothing of these rules. This film was made theogyan epic of bourgeois cinemato- graphy.

For three and a half years edits the journal of the workers’ theater, published at his own cost. For it is impossible that he should be so evil. The pubiic, however, need not wait for the gesture encyclopaedia and gram- mars of future academies: For the folm can move even while they do not.

But a good film with its close-ups reveals the most hidden parts in our poly- phonous life, and teaches us to see the intricate be,a details of life as one reads an orchestral score. Who is in there?

Everything had first to be reality before it fikm become a picture. In the silent film the way in which an actor moved his mouth in speaking was also a means of facia! Written psychology has often attempted to find by analysis the dividing line between the individual and the general. How much of human thought would remain un- expressed if we had no music!