Béla Balázs

(redirected from Bela Balazs)
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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).


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


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.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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.
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.
Bela Balazs; early film theory; Visible man and The spirit of film.
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.
Part 1, "Bartok, Balazs, and the Creation of a Modern Hungarian Opera," traces the history of Bela Balazs's Bluebeard, the play Bartok adapted (with few changes) for his opera, and the relationship between composer and playwright.
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.