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Full Description
Béla Balázs's two works, Visible Man (1924) and The Spirit of Film (1930), are published here for the first time in full English translation. The essays offer the reader an insight into the work of a film theorist whose German-language publications have been hitherto unavailable to the film studies audience in the English-speaking world. Balázs's detailed analyses of the close-up, the shot and montage are illuminating both as applicable models for film analysis, and as historical documents of his key contribution - alongside such contemporaries as Arnheim, Kracauer and Benjamin - to critical debate on film in the 'golden age' of the Weimar silents.
Contents
Glossary Editorial
Erica Carter
Visible Man or the Culture of Film Three Addresses by Way of a Preface
I. May We Come In?
II. To Directors and Other Fellow Practitioners
III. On Creative Enjoyment
Visible Man Sketches For a Theory of Film
The Substance of Film Type and Physiognomy
The Play of Facial Expressions
The Close-Up
The Face of Things
Nature and Naturalness
Visual Linkage
Supplementary Fragments
World View
Two Portraits
Chaplin, the Ordinary American
Asta Nielsen: How She Loves and How She Grows Old
The Spirit of Film
Seven Years
The Productive Camera
The Close-Up
Set-Up Montage
Montage Without Cutting Flight From the Story
The Absolute Film
Colour Film and Other Possibilities
Sound Film Ideological Remarks
Appendix:
Reviews I: Siegfried Kracauer, 'A new film book' (1930)
Reviews II: Rudolf Arnheim, The Spirit of Film (1930)
