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45. Sibyl Moholy-Nagy: Architecture, Modernism and Its DiscontentsEszter Polonyi, 2019, review, book review, critique Keywords: art history, modernism, architectural history, the Bauhaus, pedagogy, gender studies
Published in RUNG: 10.12.2020; Views: 3575; Downloads: 0
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47. 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.
Keywords: film history, media studies, science and technology studies, Weimar cinema, media archaeology
Published in RUNG: 10.12.2020; Views: 3800; Downloads: 0
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50. 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.
Keywords: cinema-train, cinefication, revolutionary cinema, cinema on revolution, October, Medvedkin, Eisenstein, Vertov, communist subjectivity, emancipation, workers' history
Published in RUNG: 19.08.2020; Views: 3717; Downloads: 0
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