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11 - 20 / 21
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11.
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Eszter Polonyi, unpublished conference contribution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: 2482; Downloads: 0
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12.
An atlas of counterpublics: Michael Mandiberg re-enacts Charlie Chaplin
Eszter Polonyi, unpublished conference contribution

Keywords: transnational media studies, contemporary art, film studies, critical theory
Published in RUNG: 11.12.2020; Views: 2135; Downloads: 0
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13.
An unsung 16mm public film archive at Pratt Institute
Eszter Polonyi, unpublished conference contribution

Keywords: film studies, media archaeology, analog media, library and data science
Published in RUNG: 11.12.2020; Views: 2334; Downloads: 0
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14.
Könyvrecenzió: Film History as Media Archaeology: Tracking Digital Cinema (Thomas Elsaesser)
Eszter Polonyi, György Andorka, 2017, professional article

Keywords: film studies, media studies, media archaeology, digitization
Published in RUNG: 10.12.2020; Views: 2308; Downloads: 0
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15.
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: 2567; Downloads: 0
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16.
Book Review of Film History as Media Archaeology: Tracking Digital Cinema (Thomas Elsaesser, 2016)
Eszter Polonyi, 2018, review, book review, critique

Keywords: film studies, media studies, media archaeology, digitization
Published in RUNG: 10.12.2020; Views: 2306; Downloads: 0
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17.
18.
Archaeology versus Convergence: Film Studies Today
Eszter Polonyi, 2018, short scientific article

Keywords: film studies, media studies, media archaeology
Published in RUNG: 10.12.2020; Views: 2161; Downloads: 0
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19.
Írás fénnyel: Balázs Béla a forgatókönyv megjelenéséről
Eszter Polonyi, 2020, original scientific article

Abstract: Film was fast becoming the dominant form of narrative discourse by the time of the establishment of the great European film studios in the 1940s. While many writers regarded film as undercutting other systems of narrative delivery, namely print, others discerned potential in the new industry for a form of authorship that possessed attributes of the prior, literary regime of writing. This piece considers the case made for literary authorship in and through film by the Hungarian film theorist and film scenarist, Bela Balazs. Balazs’s bases his claim regarding the return of literature on the scenario. While the scenario is habitually defined as the verbal projection of a film, Balazs also locates its effects at the level of the photographic image, so that film is read as symptomatic of the language of the scenario. Tying developments in the conventions of film editing to the writing techniques of the scenarist, Balazs describes the authorship of the scenarist as both palpable and yet non-visible, which this piece argues explains the obscurity into which historic „film authors” have fallen, including Balazs himself. Although Balazs makes every effort to recognize the scenario, when it comes to acknowledging the scenarist, there is a distinct inability and unwillingness to designate them as the scenario’s author.
Keywords: film studies, film theory, industrial design, Soviet studies, literary theory
Published in RUNG: 10.12.2020; Views: 2278; Downloads: 0
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20.
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: 2515; Downloads: 0
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