...Laura Heins Concerns about the passages on race and physiognomy in Béla Balázs's film theoretical writings often focus on his references to cinema's promotion of a normative “white psyche.” Through comparative analyses of Balázs with the racial physiognomist Ludwig Ferdinand Clauss as well...

...Erica Carter Abstract Focusing on the interwar writings of the film journalist and theorist Béla Balázs, this article argues for an understanding of Balázs’s film aesthetics as grounded in a popular politics of the body. Balázs understood film as a medium in which experiences of image, sound...

..., especially in the work of Jean Epstein and Béla BalÁzs. Screens, beginning with cinema, increasingly interrupt yet mime face-to-face contact. This condition is construed as a loss, similar to that of Babel and its universal language: a loss of the fantasized immediacy, transparency, and presence of face...

.... The dossier we have prepared includes contributions by scholars from the United States, the United Kingdom, Germany, and Austria that explore the writings by and about key figures—Béla Balázs, Siegfried Kracauer, Frieda Grafe, Harun Farocki, and Michael Althen, among others. They aim to shed light...

... Balázs described cross-sectional montage as follows: “[Simultaneism] is based on the same idea: namely, that the repre- 3. Ibid., 225. 4. Blümlinger, Kino aus zweiter Hand, 54. 5. See Mathew Rampley, “Archives of Memory: Walter Benjamin’s Arcades Project and Aby Warburg’s Mnemosyne...

... were by no means typically German or limited to the time prior to World War I. Technoromantic thought permeates the writings of various film theorists of the 1920s, including Jean Epstein and Béla Balázs. Residues of the technoro- mantic outlook can also be found in the work of Siegfried Kracauer...

.... 2011 . Opening Bazin: Postwar Film Theory and Its Afterlife . Oxford : Oxford University Press . Balázs Béla . 2010 . Early Film Theory: “Visible Men” and “The Spirit of Film,” edited by Carter Erica , translated by Livingstone Rodney . New York : Berghahn . Baumann...

... theory, although it does resonate with Béla Balázs’s prediction of 1924 that film might someday be used to develop a “dictionary of gestures and facial expressions [that would be] like a dictionary of words.” 28 In short, this is a singularly unsophisticated response to the medium for someone alleged...

... Balázs, Lüdecke stresses the importance of theEinstel ­ lung, a word that at once connotes a frame, a mental attitude, and a worldview. The correct Einstellung is the appropriate fix on things; it is equally a formal and a moral disposition. When images of what is (Abbilder) yield to meta...

... culture and cinema. He wrote significant articles on Béla Balázs and G. W. Pabst, radio culture and Nazi cinema, aesthetic resistance in the film of the Third Reich, and cinematic representations of the Holocaust. Ever one to think outside the box, David produced work saturated with his deep knowledge...

.... To this end, it will also be helpful to bear in mind the larger history of reflection on film in the German language. 1 A retrospective assessment of this critical legacy will perforce return to the distinguished Weimar-era critics, especially Rudolf Arnheim, Béla Balázs, and, of course, Siegfried Kracauer...

... of progressive writers, especially those of Béla Balázs and Kracauer, who wrote their theory and criticism in the belief that film constituted the seventh art. Today film has migrated from the cinema, which no longer functions as a crucial institution for the socialization of young audiences. Viewers now...

... made man’s gestures visible to him (cf. Béla Balázs, Der sichtbare Mensch [ Visible Man , 1924], and Sergei Eisenstein’s writings on the cinema from 1922 on). In fact, Kafka, too, was fascinated by the cinema, even if he remained ambivalent toward it. 47 This connection between the cinema...

... of Béla Balázs (“Randbemerkungen zum Thema,” 427). 35. Patalas and Berghahn, “Gibt es eine linke Kritik 135. Mattias Frey  95 and overlooks the fact that “political affects are not identical with social insights.”36 Such critics praise a film because...

... landscape. For instance, Helmar Lerski was the cameraman for Der heilige Berg (1925) and directed Avodah (1935). Das blaue Licht (1932), whose script was written by Béla Balázs, can also be counted among these films. Some films pro- duced by Jewish filmmakers provide a more complex vision of the German...