The New Woman and the ekphrastic poetics of Bela Balazs
The New Woman and the ekphrastic poetics of Bela Balazs
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新女性与贝拉·巴拉兹的抒情诗学
作者：
Carter E
长期以来，电影研究一直承认女性主体作为历史主角、象征再现和理论建构在学科中的中心地位。然而，我对这份档案的贡献表明，关于早期电影理论与20世纪早期女性气质之间的关系，还有很多工作要做。更确切地说，女性气质可以从历史和象征的角度作为早期电影理论的结构元素来考虑。在这里，我详细阐述了这一论点，讨论了b2013.com的早期著作Balázs：特别是两次世界大战之间的两篇论文，看得见的人（1924）和电影的精神（1930），其中Balázs探讨了电影和电影感知在形成新的社会主体中所起的作用。正如Balázs在《电影的精神》中所写的那样，“（电影媒介的）发展的基础是主体，人类主体，社会存在中的人”。1 .在第一次世界大战结束时转向马克思主义之后，Balázs的主要承诺是把工人阶级作为“他的社会存在中的主体”，注定要成为历史变革的集体代理人。然而，他自己的生活轨迹表明了第二个新兴历史主角的重要性：新女性，我们从女权主义历史中知道，到世纪之交，她已经成为社会、经济和文化变革的第二个全球代理人。政治女权主义对Balázs来说是形成性的：他写了一篇关于女权主义的早期文章，并在1919年短暂的布达佩斯公社中与女权主义活动家一起工作。他与女性艺术家和知识分子建立了终身的、在智力上形成的关系，其中包括作家和插画家安娜·莱兹奈（Anna Lesznai），她帮助塑造了Balázs对电影作为童话大众的看法
Film studies has long acknowledged the centrality to the discipline of the female subject as historical protagonist, symbolic representation and theoretical construct. My contribution to this dossier suggests, however, that there remains work to be done on the relation between early film theory and early twentieth-century femininity. Femininity, more pointedly, can be considered from both a historical and a symbolic standpoint as a structuring element within early film theory. I elaborate this argument here in a discussion of the early writings of Béla Balázs: specifically of the two interwar treatises, Visible Man (1924) and The Spirit of Film (1930), in which Balázs explored the part played by film and cinematic perception in the formation of new social subjects.As Balázs wrote in The Spirit of Film,‘the substrate of [the film medium’s] development is the subject, the human subject, man in his social being’. 1 After his turn to Marxism towards the end of World War I, Balázs’s primary commitment was to the working class as that ‘subject… in his social being’who was destined to become the collective agent of historical change. Yet his own life trajectory suggests the significance for Balázs of a second emergent historical protagonist: the New Woman, whom we know from feminist history to have become by the turn of the century a second global agent of social, economic and cultural change. 2 Political feminism was formative for Balázs: he wrote an early essay on feminism, and worked alongside feminist activists in the short-lived Budapest Commune of 1919. He nurtured lifelong and intellectually formative relationships with women artists and intellectuals, among them Anna Lesznai, the writer and illustrator who helped to shape Balázs’s thinking on cinema as a fairy-tale mass