With the entire variety of his voluminous writings ultimately viewable, André Bazin turns out extra deserving than ever to be thought of the main influential of all writers on movie. His short profession, 1943-58, helped result in the bounce from classical cinema to the trendy paintings of Renoir, Welles, and neorealism. founding father of Cahiers du Cinéma, he inspired the long run New Wave administrators to confront his telltale query, What is Cinema? This assortment considers one other important question, who's Bazin? In it, thirty 3 well known movie scholars--including de Baecque, Elsaesser, Gunning, and MacCabe--tackle Bazin's which means for the twenty first century. they've got present in his writings unmistakable lines of Flaubert, Bergson, Breton, and Benjamin they usually have pursued this vein to the gold mine of Deleuze and Derrida. they've got probed and assessed his principles on movie background, kind, and procedure, measuring him opposed to today's media regime, whereas measuring that regime opposed to him. they've got situated the dear ore of his idea couched inside of striations of French postwar politics and tradition, they usually have printed the unforeseen results of that notion on filmmakers and picture tradition on 4 continents. Open Bazin; you can find a treasure.
"This notable assortment, whose members are the most exceptional modern movie students, rescues Bazin from the ossified stereotypes that experience come to outline him in movie pedagogy--realism vs. formalism, intensity of box vs. modifying, humanism vs. Marxism. It sheds mild at the complexities and intricacies of the Bazin oeuvre in all its variety and delineates the ways that his paintings illuminates the definitive influence of movie as an artwork within the twentieth century."--Mary Ann Doane, Brown University
About the Authors
Dudley Andrew is R. Selden Rose Professor of movie and Comparative Literature at Yale college. he's the writer of various courses, together with What Cinema Is! and Mists of remorse: tradition and Sensibility in vintage French Film.
Hervé Joubert-Laurencin is a number one authority in France on Bazin and the writer of Pasolini: Portrait du poete en cineaste and los angeles lettre volante: Quatre essais sur le cinema d'animation
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Extra info for Opening Bazin: Postwar Film Theory and Its Afterlife
To Bazin, therefore, analyzing a film consists in excavating three strata of interpretation and establishing relationships between these levels. 61 This topography then needs to be explained by reference to two geological layers lying underneath: the sociological context in which the film was conceived, and its moral significance. ”62 For Bazin, surface realism is not an end in itself, for reality includes a universal moral significance; conversely, content cannot be conceived without its stylistic embodiment.
36 This stance is exemplified by the American version of Marcel Carné’s Daybreak (1940): “Le Jour se lève is a tragedy at Aubervilliers. ”38 Hence the numerous texts in which Bazin describes the challenges of cross-cultural reception: when a film is made in a foreign country, the spectator is exposed to a cultural context which does not necessarily intersect with that of the country in which the film is shown. 39 The quest for such a balance was palpable in Bazin’s assessment of the representations of landscape in French cinema.
5 In contrast to the more specialized education that the young men of the elite received in French universities, the École normale d’instituteurs emphasized both pedagogy and the links between disciplines, two characteristics Bazin exemplified when he later animated ciné-clubs. 1]. 8 In contrast to the requirements at the more traditional and famous École normale superieur-Rue d’Ulm, the exam in geography was compulsory at Saint-Cloud. The École normale supérieure of Saint-Cloud was created only a few years after France’s humiliation in the Franco-Prussian War, thus fostering a sense of national identity among the normaliens (in fact the school’s site lies on the former location of one of Napoleon III’s palaces, destroyed by Prussia in 1870).