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Futó
i.e. Runner
MAGVETŐ, Budapest - 2011
Language: Hungarian
292 pages
How to admit loss, living with grievous traumas in personal life? How can one forget while remembering? ... YB’s first novel is an emotionally upsetting autofiction, memento of a never terminable self-search.
English translation from a chapter "Blessing in the Entryway" in Asymptote journal
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Turbulence and Flow in Film
- The Rhythmic Design
INDIANA UNIVERSITY PRESS, Bloomington - 2008
Language: English
288 pages, 21 b&w photos
Little attention has been paid to the temporal aspect of filmmaking. Turbulence and Flow in Film describes how pace and rhythm create meaning and how film gains its fullness through the flow of images and the speed or slowness of the dramatic action. It demonstrates that the quick or restrained breathing of the sequences is not a secondary element but rather provides the spirit and ambiance of the work.
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Időformák
OSIRIS
Budapest
2005
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Le temps au cinéma
ALÉAS
Lyon
2007
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Sinemada Zaman
IZDUSUM YAYIMCILICK
Istambul
2011
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Chinese translation
in progress by
CHINA FILM PRESS
BEIJING
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Nem tiltott határátlépések
i.e. Authorized bordercrossing
OSIRIS, Budapest - 2003
Language: Hungarian
290 pages
Already fifty years ago Andre Bazin defended the right of a "cinéma impur", stressing the potential of "external" artistic forms in the filmlanguage, (how music, color, poetry, dramatic structure etc., have their right in the fullness of expression.)
Reaching its maturity, the successful "new-wave" not only enjoyed the power of "transgression", incorporating the above elements, but went further by demolishing old taboos. As we now reach the mature age of cinema, lively interaction exists between the classical art forms and film. The influence of the moving image is ubiquitous in our present day life.
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A hetedik művészet
i.e. The Seventh art
OSIRIS, Budapest - 2003
Language: Hungarian
426 pages
This is the fourth Hungarian edition of Yvette’s groundbreaking first two books: A film formanyelve (The Filmlanguage) and A film drámaisága (The Dramatic Structure of Film). It is a comprehensive account of the expressive means of the Seventh Art, proclaiming the right of a non-theatrical, free way of storytelling, drawing attention to the significance of the "logic of emotions".
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To Dress a Nude
- Exercises in Imagination
(with M-G Ripeau)
KENDALL/ HUNT PUB Co., Iowa - 1998
Language: English
165 pages
This book introduces a challenging method of screenwriting, intending to improve the flexibility to shape dramatic ideas. Through a progression of objets trouvés the reader is invited to write a story, using the objects as triggers for developing treatment.
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Kako obleči akt
POKAŽI JEZIK
Ljubljana 1996
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Egy akt felöltöztetése
OSIRIS
Budapest
1996
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Nudo da vestire
BIANCO & NERO
Roma
1998
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Direction Scénario
SÉGUIER
Paris
2001
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Siessünk lassan / Festina Lente
i.e. Hurry Up Slowly / Festina Lente
ÚJ VILÁG KIADÓ, Európai füzetek, Budapest, p. 5-38. - 1997
Language: Hungarian
Inspired by Italo Calvino’s motto, in the age of Allegro furioso, this work calls attention to other values in storytelling, borrowing appropriate musical notions, such as Poliphony, Tema con variazione, Lento, Majestuoso, Largo Desolato and Ritenuto.
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A rendetlenség rendje
i.e. Order of Disorder
CSERÉPFALVI KIADÁSA, Budapest - 1996
Language: Hungarian
287 pages
Where are the boundaries between order and disorder, severe composition and sensible freedom? What is the role of the contingent, the unforeseeable, the surprise in the structure of the film drama? This "mysterious object", the image, became at once transparent and barbarian. Irony, "cogito interruptus" and playful confession characterize the contemporary movies, referring to Cassavetes, Agnes Varda, Chris Marker and Marco Ferreri, Theo Angelopoulos and Miklos Jancso as the outstanding guides in our desire for time-traveling.
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Profane Mythology
- Savage Mind of the Cinema
INDIANA UNIVERSITY PRESS, Bloomington - 1992
Language: English
148 pages
Profane Mythology is a brilliantly syncretic work that relates cinema to a wider context of modern thought, claiming that it is a radical medium of physical proximity and ceaseless change… She draws from the theories of Kracauer, McLuhan, and Christian Metz to explain the essence of the evolution of film poetics and stylistics… Modern film is not simply a personal vision but also a self-reflection in which consciousness examines its relation to the object of its study… Film not only reflects reality but forms reality and creates its own mythology. This book lays the foundations for a comprehensive theory of cinema as a socio-cultural phenomenon.
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Mythologie profane
LHERMINIER
Paris 1982
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Profán mitológia
MAGVETŐ
Budapest
1982
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Chinese translation
without copyright permission
1991
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Chinese translation
CHINESE FILM PRESS
2003
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Filmkultura 65/73
Selected and introduced by Yvette Biro
SZÁZADVÉG, Budapest - 1991
Language: Hungarian
299 pages
"In the short years of the "thaw", Filmkultura offered a home for the repressed words of truth, and opened a window to European Culture. Beyond the introduction and promotion of mere cinematic values, for us it meant the right to doubt, the free voicing of critical opinions."
- Arpad Goncz, President of the Hungarian Republique 1990-2000
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Jancso
Préface de A. Wajda
ALBATROS, Paris - 1977
Language: French
142 pages
« De l‘œuvre riche et foisonnante du cinéaste Yvette explique sa cohérence, son fonctionnement, ses insistances… Collaboratrice de Jancso elle décrit le lieu d'une tension : le travail de la mise en scène. »
« C’est l’image (qui reste toujours) d'une seule situation : une plaine infinie, a la hauteur d’un homme debout. Deux tiers ciel, gris, nuageux. La terre est lisse comme une table. Il ne passe rien…apparaît un homme qui court... cet homme fuit…sa silhouette s’éloigne. Alors tout près du spectateur et de la caméra immobile, s'élève un grand fusil… longuement, posément il vise le point qui fuit… Enfin le coup retentit… c’est tout. » - from the preface by Andrzej Wajda
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A film drámaisága
i.e. The Dramatic Structure of Film
GONDOLAT, Budapest - 1967
Language: Hungarian
142 pages
Two basic principles meet in the film drama: on the one hand, the proximity to everyday life (physical reality, movement and objects), because of the authenticity of photography, following a linear development - on the other hand, the articulation of these elements together in order to create a non-linear, poetic, self-contained universe in which imagination, dreams, free associations may find their place, thereby bringing about an artistic whole.
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Teorie filmové dramaturgie
ČS - FILMOVÝ ÚSTAV
Praha
1973
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A film formanyelve
i.e. The Filmlanguage
GONDOLAT, Budapest - 1964
Language: Hungarian
258 pages
The book offers a comprehensive account on the expressive means of a film: it examines in detail the power of the image, the role of editing, both horizontal and vertical montage (sound), it analyses the structure of storytelling, discusses the nature of film acting, and the composite nature of the medium.
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