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Írás fénnyel: Balázs Béla a forgatókönyv megjelenésérőlEszter 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: 3459; Downloads: 0
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