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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Fifty men are sitting in the same place all the time in this scene. If 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.

For such things have their own specific expressions super- posed on the feigned one. One might think that the theoif of this art would naturally be regarded as the most important field for present-day art theory. Desert marauders have surrounded a little group of soldiers. Not only psychological subtleties or moving emotions can be shown in such close-ups, but greater things too, all the pathos of human theroy.

The text-tooks used in our sa: In this way the silent film grew less and less literary’, following in this respect the trend at that time prevalent in the art of hteory. But the perspective of every single painting is one and immutable; hence the outline of every object shown in the picture is finite, a single definite shape.

THEORY OF THE FILM : BELA BALAZS : Free Download, Borrow, and Streaming : Internet Archive

Film distribution in Greece: This sort of change-over offers opportunities for good effects. She does it convincingly: It is the last shot of a tragic scene. Of course this scene could not have achieved such power- ful tension if the whole film had shown such immobility; the effect is similar to a pause suddenly occurring in a dynamic burst of music. An ant-heap is lifeless if seen from a distance, but at close quarters it is teeming with busy life. He is left alone at an empty table laid for many guests.


Children and animals took the stage “Hew characters in tfie old art of photographed theatre. The play of features can also have an insincere rhetoric of its own.

Béla Balázs

The characters may not move, but our fim may leap from the one to the other as it is carried by the camera. We understood what was meant when a man hissed his words from between clenched teeth, or spat them out like the darting tongue of a poisonous snake.

Co-written number of scripts; film criticism, play and book reviews, art-philosophical studies and literary essays for journals internationally est. The gestures of visual man are not intended o convey cinicepis which can be expressed in words, but such inner experiences, such throry emotions which would still remain un- expressed when everything that can be told has been lokL Such emotions lie in the deepest levels of the soul and cannot be approached by words that arc mere reflexions of concepts; just as our musical experiences cannot be expressed in ration- alized concepts.

This article is also available for rental through DeepDyve. He is like the sublime image of a saint.


From Wikipedia, the free encyclopedia. Oxford University Press is a department of the University of Oxford. But in the isolated close-up of the film’ we can see to the bottom of a soul by means of such tiny move- ments of facial muscles hteory even the most observant partner would never perceive.


Only by means of unaccus- tomed and unexpected outhnes produced by striking set-ups, can old, familiar and therefore never seen things hit our eye with new impressions. The angle is what gives all things their shape and the same thing taken from different angles often gives a completely dis- similar picture. There was once a painter who one day painted a landscape.

He entered the picture and took the maiden for his wife. Then Asta Nielsen suddenly remembers that she is under observation. The reason is that the film is the only art born in the epoch of capitalism. Writes for Nyugat magazine.

Then tears gather in the eyes and that ends the scene. In the restless cross-cutting of close-ups, tiny belz of boiling excitement sizzle and bubble.

Béla Balázs – Wikipedia

This is moving, because this cannot be faked. The close-up shows your shadow on the wall with which you have lived all your life and which you scarcely knew; it shows the speechless face and fate of the dumb objects that live with you in your room and whose fate is bound up with your own.

Despite the tower of Babel there were concepts common to all behind the different words and one could ako learn the languages of others. In the bank vault just mentioned the camera rushes to and fro and the pictures move faster and more fiercely than the actors could.