Balasz Response

The smallest details are often the biggest source of concern for a filmmaker. Balász argues that the use of a close-up shot draws attention to the details, and allows the audience to focus on minute aspects that would not normally be noticed by observers. His theory seems to focus on the creation of a film in building blocks. He states: “The greatest landslide is only the aggregate of the movements of single particles. A multitude of close-ups can show us the very instant in which the general is transformed into the particular” (274). In addition to simply drawing attention to the details, Balász argues that close-ups provide the audience with information that is often over looked. Close-up shots force the audience to focus, however, good close-ups “radiate a tender human attitude in the contemplation of hidden things, a delicate solitude, a gentle bending over the intimacies of life-in-the-miniature, a warm sensibility. Good close-ups are lyrical; it is the heart, not the eye that has perceived them” (274). I found this argument extremely interesting. This statement juxtaposes film making to the art of lyrical poetry. This comparison secures cinema as an art form, and not merely mechanical reproduction. Balász goes on to argues that “Close-ups are the pictures expressing the poetic sensibility of the director” (274). This serves as further evidence of film’s place in the art world. The director is the artist and the range, especially close-ups, are measures used to convey the artistic vision.
In my opinion, Balász is the most straightforward film theorist that we have studied thus far. His ideas were clear and concise, which made his writing easier to comprehend. Balász seemed to focused less on philosophical principles, and more on film technique, and issues that contemporary filmmakers can easily relate to.