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31.
Invisible Man: Microcinematography in early 20th-c Europe
Eszter Polonyi, unpublished conference contribution

Keywords: film studies, science and technology studies, Weimar cultural history, film theory
Published in RUNG: 11.12.2020; Views: 2296; Downloads: 0
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32.
Marina Abramovic and Planet Yugoslavia
Eszter Polonyi, unpublished conference contribution

Keywords: film studies, Southeast European cultural history, contemporary art
Published in RUNG: 11.12.2020; Views: 2217; Downloads: 0
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33.
The Future of Film: Appropriation rather than Preservation
Eszter Polonyi, unpublished conference contribution

Keywords: film studies, art history, library and data science, archive theory, contemporary art, intangible heritage, cultural heritage
Published in RUNG: 11.12.2020; Views: 2530; Downloads: 0
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34.
35.
The Problem with Retro: Franz Pforr and Nazarene Art
Eszter Polonyi, 2006, original scientific article

Keywords: art history, German art, Romanticism
Published in RUNG: 11.12.2020; Views: 2016; Downloads: 0
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36.
Daydream by Béla Balázs
Béla Balázs, 2012

Keywords: film history, media studies, science and technology studies, Central European cultural history
Published in RUNG: 10.12.2020; Views: 2613; Downloads: 0
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37.
New Art: The Film (1924) by Miklós Marsovszky
Miklós Marsovszky, 2012

Keywords: film history, Central European film, film theory, art history
Published in RUNG: 10.12.2020; Views: 2462; Downloads: 0
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38.
Sibyl Moholy-Nagy: Architecture, Modernism and Its Discontents
Eszter Polonyi, 2019, review, book review, critique

Keywords: art history, modernism, architectural history, the Bauhaus, pedagogy, gender studies
Published in RUNG: 10.12.2020; Views: 2432; Downloads: 0
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39.
40.
Béla Balázs and the Eye of the Microscope
Eszter Polonyi, 2012, original scientific article

Abstract: This study explores the significance of the cinematic close-up to one of the earliest theories of film, produced by Béla Balázs, on the basis of a widespread technique of microscopy in the life sciences, notably in the work of his brother Evin Bauer, a theorist of microbiology. Balázs imagines that silent film records life in its immanence and spontaneity by virtue of what he calls the “physiognomic” nature of its signs. Rather than generating signs that must be passed through an alphabetic cipher, as had been required under the regime of the written or literary, Balázs presents film as liberating our access to the flow of optical data. Interestingly, however, Balázs retains the need otherwise characteristic of scientific analysis for dividing up the image into semiotic units, what he describes as “atomization.” He insists on returning the real to a symbolic order and making film into a language.
Keywords: film history, media studies, science and technology studies, Weimar cinema, media archaeology
Published in RUNG: 10.12.2020; Views: 2566; Downloads: 0
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