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2. Cinema as citizenship: practices of mis(re)cognition on the fringes of Europe : lecture at the Society for Cinema and Media Studies, SCMS, Boston, March 14-17, 2024Eszter Polónyi, 2024, unpublished conference contribution Abstract: This paper comes out of a book project examining the emergence of identity recognition practices in the first half of the twentieth century, that is, during the period leading up to the visual (de)construction of identity in a manner no longer verifiable by the human eye. Its focus is on the filmic representation of early institutions of photographic identification and their tactical subversion through fraud, plastic surgery, masks, identity theft, as well as visual occlusions occurring at the level of cinematography, such as techniques of blocking, framing, magnifying, and editing as described by Balázs in his film theory. The paper focuses on practices of opacity and mis(re)cognition such as are practiced specifically by central and east European practitioners in exile, including in the films of Bela Balázs, Fritz Lang, Peter Lorre, and Conrad Veidt.
Keywords: film and media studies, east central European regional studies, migration studies
Published in RUNG: 09.10.2024; Views: 124; Downloads: 0
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3. Iconic Images in Modern Italy: Politics, Culture and Society : IntroductionMartina Caruso, 2016, other scientific articles Abstract: This special issue explores the developments in the conversation on iconic images in Modern Italy in the fields of art history, film studies and history of photography in Italian cultural studies, concerning the ways in which we perceive and interpret such images in relation to perceptions of 'Italianicity'.
Keywords: iconic images, Italianicity, Modern Italy, history of photography, art history, film studies, fascism, postwar, Gramsci, d'Annunzio, Mussolini, Pasolini, Moro, Basilico, Tony Gentile, Falcone, Borsellino, propaganda
Published in RUNG: 13.01.2023; Views: 1774; Downloads: 0
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6. The Promise of Collective Authorship: Bela Balazs’s Move to the Soviet Union (1931-1946)Eszter Polonyi, unpublished conference contribution Abstract: Balazs belongs to a generation of Central and Eastern European critical thinker, cultural philosopher and writer that is often credited with exporting Marxist cultural analysis to North America, but about whom very little is known to English-language scholars. The fifteen years he spent in the Soviet Union are among the most undocumented of his career, even though this was when he wrote the text that would become his most widely-cited book, Theory of the Film. This paper examines Balazs’s decision to flee to the Soviet Union from Germany in 1931. While it has long been assumed that Balazs’s decision to move East rather than West—the route otherwise taken by colleagues of his such as Siegfried Kracauer, Michael Curtiz or Rudolf Arnheim—was due to commitments of a political nature, this paper evaluates Balazs’s options from the viewpoint of the scenarist’s rising importance within competing modes of film production. Pre-constituting a film by way of a plan, sketch or model, the scenario promised different types of leverage over production to capitalist and communist systems. Conceived of as a commodity blueprint in Hollywood, the scenario appeared as it was a means of enhancing the effectiveness of production and as a tool of capital, whereas, for Balazs at least, the scenario was a source of sensory and spiritual attunement between an assemblage of humans and machines. Understood as offering vision rather than oversight, collective authorship rather than collective control, the script appeared to complement the utopian arguments driving the Soviet film industry.
Keywords: film studies, industrial design, Soviet studies, authorship
Published in RUNG: 14.12.2020; Views: 2673; Downloads: 0
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