Donor challenge: Your generous donation will be matched 2-to-1 right now. Your $5 becomes $15! Dear Internet Archive Supporter,. I ask only. Postwar Quest for a New Film Language. Hester Baer. Bela Balazs: Early Film Theory. Visible Man and The Spirit of Film. Bela Balazs, edited by Erica Carter. Theory of the Film: Sound by Bela Balazs. The Acoustic World It is the business of the sound film to reveal for us our acoustic environment,, the acoustic.
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For other people with the same name, see Herbert Bauer. This unity and the simultaneity of pictures proceeding in time fikm not produced automatically. In this silent mono- logue the solitary human soul can find a tongue more candid and uninhibited than in any spoken soHloquy, for it speaks instinctively, subconsciously. Such films were unsur- passed in showing the Strindbergian moods in the savagely antagonistic silences of human beings confined together in narrow spaces.
Béla Balázs – Wikipedia
There is nothing more theor than the objective. This movement breaks up the object before the camera into sectional pictures. The man of visual culture uses these not as substitutes for words, as a deaf-mute uses his tiniiers. We see the nuns’ mouths move with hysterical rapidity, A few minutes before, when they were praying in the immobile poses of statues, no one would have believed that they were capable of such violent passions.
The first Art Academy which included the theory of film art in its curriculum was opened in Prague in Composition, colour, brushwork all show at least as much of him as of the objective reality he depicts. But such nela of the natural did even more than this: She has obtained the keys, she is in his cell, the road to freedom is open. After the first world war and the hysterical emotional fantasies of expressionism, a documentary’, dry, anti-romantic and anti- emotional style was the fashion in the film as in the other arts.
When the film close- up strips the veil of our imperceptivencss and insensitivity from the balxzs little things and shows us the face of objects, it still shows us man, for what fiilm objects expressive are the human expressions projected on to them. One of the maidens caught his eye and he fell in love with her. According to him every film should placed in some specific natural environment which mmt affect the human beings living in it and play a part in directing their lives and destinies.
He entered the picture and took the maiden for his wife. Primitive art is the adequate expression of primitive beal and skill. We neither see nor feel the space in which the scene is in reality enacted. The cameraman’s vision, his artistic creative work, the expression of his personality, can be seen only in the screen projection. We move in the spiritual dimension of facial expression alone.
The silence of this film and everything resulting from it was thus no technical necessity, but intentional and deliberately accepted style— rather like the etcher’s renuncia- tion of colour.
No digging in the ground and no archaeology can answer these whys and hows nor ex- plain the part played by incipient art in primitive societies. Bels they wanted a woman looking in terror into the barrel of a gun directed at her and the acting of an actress was not natural enough for their requirements, they went out and searched for a truer one in the street.
She was photographed without tbe knowledge and then this really unselfconscious, naturally terrified face was cut into the picture to face the gun. Please balwzs lost cards and change of residence promptly, Card holders are responsible for all books, records, films, pictures or other library materials checked out on their cards.
Custom spreads a veil over our eyes. Finally Linder crawls along on all fours, completely hidden by the tub. It sometimes changed the angle or perspective from scene to scene but never within the same scene. But the sound films of to-day seem to have torn the strings from their own instruments.
But the tub is large and there are many laughs in the way he tries to lift it and carry it.
Full text of “Theory of the Film – Bela Balazs”
In space, sound is always heard indivisibly and homo- geneously; that is, it has the same character in one part of space as in any other; it can only be louder or softer, closer or more distant and mixed with other sounds in differing ways. After a few moments the scene would become empty and dead, because nothing happens in it.
The art of angle and set-up are to the director and cameraman what style is to the narrator and it is here that the personality of the creative artist is the most immediately reflected. But the camera can get so close to the face that it can show ‘microphysiognomic’ details even of this detail of the nela and then we find that there are certain regions of the face which are scarcely or not at all under voluntary control and ba,azs expression of which fil, neither deliberate nor conscious and may often betray emotions that contradict the general expression appearing on the rest of the face.
But what we see in a film we relate to our own selves, it is not yet ‘history’ and we laugh at our own recent selves. The title says ‘Waiting for the First Shot’.
What was more important, however, than the discovery of the physiognomy of things, was the discovery of the human face. This article uses Western name order when mentioning individuals. You may see a medium shot of someone sitting and conducting a conversation fulm icy calm. Fierce passions, thoughts, emotions, convictions battle here, but their struggle is not in space.
A new dramaturgy of strictly panto- mimic comic situations was bom; a comedy balszs situations which needed neither the elucidating word, nor the individual- izing play of facial expression.
The former will not be a greater artist, but his visual sensibility, Ms culture will be on a higher level. The connecting tissue of modern society is the word spoken and written, with- out which all organization and planning would be impossible.
This tension, however, should not necessarily be seen as a negative. What makes a deep impression is not a fat, oily tear rolling down a face — what moves us is to see the glance growing misty, and moisture gathering in the corner of the eye — moisture thepry as yet is scarcely a tear.
For the trail changes its shape, it takes on a physiognomy – 4t shows us the fatigue and then exhaustion of the increasingly uncertain feet and our imagination is stimu- lated by the fact that we cannot see, but merely deduce or guess the condition of the man by the state of the trail Then far away on the horizon we see something lying prostrate on the ground and we do not know at first whether it blazs man or vilm.