1. Béla Balázs and the Eye of the MicroscopeEszter 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.
Found in: ključnih besedah
Keywords: film history, media studies, science and technology studies, Weimar cinema, media archaeology
Published: 10.12.2020; Views: 1996; Downloads: 0
 Fulltext (10,81 MB) |
2. Béla Balázs and the Haunting of Weimar FilmEszter Polonyi, unpublished invited conference lecture Abstract: We can all list the name of film actresses and film directors. Few of us will remember the name of a scenarist. And yet, the sce- narist might be responsible for every cut of every shot of every scene of a film. This talk is about the Weimar-era Béla Balázs, arguably the world’s most misunderstood film scenarist. In high demand for his world renowned theoretical understanding of the image, Balázs nevertheless is almost entirely unknown for his work in the film studio. Drawing on actual films by Balázs I have retrieved from archives, this talk hopes to recover not just the travails of the scenarist, but the aspects of the film image that he or she haunts.
Found in: ključnih besedah
Keywords: Weimar cinema, industry ephemera, media studies
Published: 11.12.2020; Views: 1555; Downloads: 0
Fulltext (132,48 KB) |
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6. Post Colonial DilettantesRajat Sharma, 2018, master's thesis Abstract: The thesis begins a discourse into a need of an Indian film theory by exploring and
analysing the plenitude of relevant western theories. In order to do so it lays down certain
concrete relationships between ideologies, terminologies and their effect; as in what
exactly post colonial means, why it is important to understand the impact of colonisation
on culture and thus on one of the most mass consumed medium in India; films. The thesis
explores the depths and complexity of the relationship of these two and the other
influences that sprout from it for example the intensity of colonisation as a cultural project
and its influence on the social reality of the people, artists, thinkers (and in our case
specifically filmmakers) , who in turn reflect on this culture through various mediums
including films. The thesis examines the western plethora of film theory in order to
accentuate the contrast between film and cinema in the west and east and thus the
subsequent need to bring forth a new ‘Eastern Film theory’.
Found in: ključnih besedah
Keywords: Post Colonialism, Cultural genocide, Cinematic Apparatus, Baudry, Political cinema, Brecht, Counter Cinema, Feminist film theory, Laura Mulvey, Douchet, Lacan, Anti Imperialism, Third Cinema, Solanas and Getino, Third Manifesto, Indian Cinema, Satyajit Ray, Consumerism
Published: 19.11.2018; Views: 3527; Downloads: 148
Fulltext (4,58 MB) |
7. Eisenstein, Vertov and Medvedkin: revolutionary “cinefication” and communist subjectivityGal Kirn, 2017, original scientific article Abstract: The major hypothesis of this article is that revolution was first “cinefied” in the Soviet context, which suggests that film was able to imagine, produce, narrate and circulate the image of (the October) (R)revolution. In this context, I will attempt to elaborate on the concept of “cinefication” here taken from Pavle Levi’s book Cinema by Other Means (2012). Levi has shown that cinefication should not be seen only as an official Soviet policy that build the cinematic infrastructure across the country and spread the revolution by trains. Rather, cinefication should be seen as the emergence of an apparatus with intensified technological capacities and also as the specific modality-genealogy of avant-garde methods within cinema. In order to understand the emergence of (avant-garde) film one should actually take into account non-cinematic means, which in their turn produced cinematic effects. My hypothesis shifts the stress on these interdisciplinary, inter-medial resources to the more general relationship between revolution and cinema/film. In short, the October Revolution continued “by other means” in cinema/film. Therefore we will not be interested in a vulgar materialist analysis that engages in a mere reflection of the October Revolution on screen (revolution as matter), but rather in how the revolution was “refracted,” displaced or replaced and actually continued by new Soviet cinema.
Found in: ključnih besedah
Keywords: cinema-train, cinefication, revolutionary cinema, cinema on revolution, October, Medvedkin, Eisenstein, Vertov, communist subjectivity, emancipation, workers' history
Published: 19.08.2020; Views: 1827; Downloads: 0
Fulltext (499,20 KB) |
8. Between Socialist Modernization and Cinematic Modernism The Revolutionary Politics of Aesthetics of Medvedkin’s Cinema-TrainGal Kirn, 2015, independent scientific component part or a chapter in a monograph Found in: ključnih besedah
Keywords: cinema-train, critique of Groys, cinefication, early Soviet cinema, Benjamin, production and dissemination, art of forms, forms of life, dialectics between life, politics and art, Medvedkin
Published: 19.08.2020; Views: 1727; Downloads: 0
Fulltext (1,65 MB) |
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