Béla Balázs

(redirected from Bela Balazs)

Balázs, Béla

 

Born Aug. 4, 1884, in Szeged; died May 17, 1949, in Budapest. Hungarian writer and motion picture theorist. A Communist; a doctor of philosophy.

In 1908, Balázs appeared in print as a symbolist poet. He worked in the People’s Commissariat of Education of the Hungarian Soviet Republic of 1919; after the defeat of the republic, he emigrated and lived in the USSR from 1931 to 1945. During this time Balázs became a realist writer; he wrote the novel The Impossible People (German, 1930; Russian translation, 1930; Hungarian, 1965), the play Mozart (1941), and the collection of poems Fly, My Word (1944). He also wrote books on the art of the motion picture: The Visible Man (German, 1924; Russian translation, 1925; Hungarian, 1958), The Spirit of Film (German, 1930; Russian translation, 1935), The Art of the Motion Picture (1945), the autobiographical novel A Dreamer’s Youth (1948), scripts, and fairy tales. He also published the collection of poems My Path (1945; Kossuth Prize, 1949).

WORKS

In Russian translation:
[“Stikhi.”] In Vengerskaia revoliutsionnaia poeziia. Moscow-Leningrad, 1925.
[“Stikhi.”] In Antologiia vengerskoi poezii. Moscow, 1952.

REFERENCES

Burov, S. “Bela Balash—teoretik i kritik kino.” Iskusstvo kino,1947, no. 1.
Eisenstein, S. Bela zabyvaet nozhnitsy: Izbrannye proizvedeniia, vol. 2. Moscow, 1964.
A magyar irodalom tö rténete,6th ed. Budapest, 1966.
References in periodicals archive ?
Neue Sachlichkeit was also questioned in these terms by its earliest detractors, an honor guard of the Left that included Bertolt Brecht, Walter Benjamin, Siegfried Kracauer, Ernst Bloch, Bela Balazs, and Carl Einstein, who deemed it reactionary both aesthetically and politically.
Bela Balazs, "Sachlichkeit und Sozialismus," Die neue Weltbiihne 24, no.
Szerepek es valtozataik: Kaffka Margit, Balazs Bela es Bauer Ervin a Nagy Haboruban (The Soul in War: Roles and Versions of Margit Kaffka, Bela Balazs, and Ervin Bauer in the Great War), Eszter Edina Molnar writes that "Margit Kaffka had to battle altogether with her being afraid for her husband at the front, her commitment as a mother, and to provide for their financial existence" ("Kaffka Margitnak egyszerre kellett megkuzdenie a frontszolgalatot teljesito ferj feltesevel, helytallnia anyakent, valamint biztositania megelhetesuket" [6]).
Both readers overlap in what stands today as the canon of film theory; chapters from Hugo Munsterberg, Andre Bazin, Christian Metz, Peter Wollen, Laura Mulvey, Tom Gunning, and Bela Balazs are included, along with more recently incorporated figures, such as Gilles Deleuze and Lev Manovich, signaling the mainstreaming of both film philosophy and new media scholarship into film theory.
Esos proyectos llamaron la atencion a los Bela Balazs Studios y lo lanzaron con Nido familiar cuando contaba con 22 anos.
This volume presents the first full English translations of Visible Man (1924) and The Spirit of Film (1930) by Bela Balazs (1884-1949), the Hungarian-Jewish film theorist, screenwriter, and film director who played a key role in developing the film aesthetics of the German-speaking world.
Mouzaki also notes the debut of the Experimental Forum, a focus on boundary-pushing cinema that will include an homage to Croatian filmmaker Ivan Ladislav Galeta--who will attend--as well as a program of 20 films from Hungary's Bela Balazs Studio, the most comprehensive compilation of the studio's work since a 1985 exhibition at New York's MoMA.
Among these, for example, is the Hungarian poet and film maker Bela Balazs, whose "film as a language" theory influenced Sergei Eisenstein.
Hoy, pensando en el teatro moderno del siglo XX, y no solo en ese modelo acartonado al que se suele aludir con frecuencia en los debates, resulta llamativo pensar en el cine como defensa del cuerpo, de lo fisico y sensorial, lo que defiende Vela haciendose eco de las ideas de Bela Balazs.
Cunningham discusses the nationalization of the film industry during the Councils' rule, the period when the state policy towards art, education and film was influenced by the Commissariat of Public Education and its leading ideologues, theoreticians Georgy Lukacs and Bela Balazs.
The Duel, which appropriates sixteen stanzas from Torquato Tasso's Gerusalemme Liberata as its libretto, is closer to a dramatized madrigal than an opera; and Bartok's librettist, Bela Balazs, spoke of Bluebeard as a "stage ballad" which tried to keep close to the remorseless economy of a medieval Scots ballad rather than fully dramatize the action.
Here Frigyesi moves with ease between Bartok's personal relationships with women and literary evocations of loneliness and romantic love by his contemporaries, including Ady, Bela Balazs, and Mihaly Babits.