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Opis: 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.
Najdeno v: ključnih besedah
Povzetek najdenega: ...to one of the earliest theories of film, produced by Béla Balázs, on the basis...
Ključne besede: film history, media studies, science and technology studies, Weimar cinema, media archaeology
Objavljeno: 10.12.2020; Ogledov: 1987; Prenosov: 0
Polno besedilo (10,81 MB)

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Ključne besede: diplomske naloge, video, film, umetnost, gibljive slike, instalacije, performans
Objavljeno: 15.10.2013; Ogledov: 5205; Prenosov: 237
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Opis: 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.
Najdeno v: ključnih besedah
Povzetek najdenega: ... Film was fast becoming the dominant form of...
Ključne besede: film studies, film theory, industrial design, Soviet studies, literary theory
Objavljeno: 10.12.2020; Ogledov: 1804; Prenosov: 0
Polno besedilo (2,29 MB)

Najdeno v: ključnih besedah
Povzetek najdenega: ...diplomske naloge, film, filmski prostor, izven kadra, filmska iluzija, ...
Ključne besede: diplomske naloge, film, filmski prostor, izven kadra, filmska iluzija
Objavljeno: 15.10.2013; Ogledov: 5758; Prenosov: 474
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Najdeno v: ključnih besedah
Povzetek najdenega: ...animacija, računalniška animacija, zgodovina animacije, slovenski animirani film, ...
Ključne besede: diplomske naloge, animacija, računalniška animacija, zgodovina animacije, slovenski animirani film
Objavljeno: 15.10.2013; Ogledov: 6282; Prenosov: 572
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