what is cinema bazin summary

Employing a stylistic and semi-auteur approach he groups all directors between the years 1920 to 1940 into two groups: one which base their integrity in the image (the imagists) and another which base their integrity in reality (the realists). Bazin makes a distinction between two different movements in silent film, one in which “montage and the plastic composition of the image are the very essence of cinema” and therefore in no need of support from sound, and another where the “image is evaluated not according to what it adds to reality but what it reveals of it”. A succinct summary of the core of Bazin’s ideas about, and attitude toward, cinema. The shot in questions has the title character framed in left, extreme close-up, with a secondary character visible in the right background of the frame (my translation): Given the technical state of 1910 the shot succeeds partly; both planes are visible but the background is soft. The result of this was, according to Bazin, the most important aesthetic revolution in film history, the arrival of the mise-en-scéne style. Learn more | Blog | Submit. By including Murnau and Dreyer as realists Bazin is falling into the same trap that Siegfried Kracauer does when he accepts certain fantastical/formalistic scenes when they are in the proper “realist” context, such as a dream or a specific point of view (Tudor 94). The figure of Umberto D’s dog is a perfect example of this. He focuses on how photography is the purest form of capturing reality and how the arrival of cinema challenges itself with preserving life as it is or was, without the alteration and manipulation from editing. Through these contradictions we can decipher Bazin’s true motives for his disliking montage and upholding mise-en-scéne. cinema as a total and complete representation of reality (the dream Bazin refers to as "the Old Testament of the cinema") (p. 23). Arnheim refutes the contention by saying that regardless of the process, even on the most elementary level the recording of an object/subject is answerable to many factors. The argument could go on and on. Even when, in his article “La Technique du Citizen Kane,” 3 Bazin defends Welles against George Sadoul’s charges of unoriginality he concludes with the spiritualistic thought that Welles, the modern artist, has left behind (through his films) “a resonance the likes of which we have never known before” (my translation). Bazin accepts the contention, and in fact posits it himself, but adds to it by elevating the filmic double to a spiritual/moral/ethical level. This Mitry challenges, refusing t accept the argument that because the camera automatically regis ters a given "reality" it gives us an objective and impartial image 0 that reality. Given the breadth of his work, I have limited myself in this introduction to his theoretical work and omitted his critical work on genre/cycles (the Western, Neo-realism) and/or specific films. cinema as the furthermost evolution to date of plastic realism, the beginnings of which were first manifest at the Renaissance and which found a limited expression in baroque painting. Language: english. In his essay, “An Aesthetic Reality,” Andre Bazin writes, “Let us agree, by and large, that film sought to give the spectator as perfect an illusion of reality as possible within the limits of logical demands of cinematographic narrative” (Bazin, 26). Cinema reached a point of classical perfection where content fused with form. (What is Cinema?, 1958) Line seven emits a spiritual echo through the words “a veritable luminous impression in light.” Could the photographic reproduction be in a symbolic sense the soul of its real life counterpart? Here montage becomes emblematic of its untruthfulness – by relating the human qualities of animals by virtue of off-screen guidance and editing. 106 min. By using deep focus, Welles is able to “cover whole scenes in one take”, allowing the audience to see the whole picture and interpret the scene independently of intrusive editing.11 There are definitely many elements of realism in Citizen Kane, but Orson Welles indulges in a great deal of symbolic and metaphoric montage to tell his story. He believed that the interpretation of a film… Representing the work of students from hundreds of institutions around the globe, Inquiries Journal's large database of academic articles is completely free. As Prakash Younger notes in his involved argumentation in his Offscreen essay, there is an ethical and moral link between the real world and the practice of artistic creation and spectatorial reception of art which informs the “aesthetic” practice and theory of Bazin. Being a humanist he believes that the idea precedes the invention and hence is superior to the technical means used to achieve it. Bazin is right in stating that such films are an entirely separate art form. The majority of them were anthologized in their original language in the four volume set Qu’est- ce que le cinéma? Much of the confusion concerning Bazin’s writings – and indeed a major concern in the canon of film theory- is traceable to the relationship between the filmed image and its life counterpart. The atmosphere and plot of the film are revealed entirely through visual means, using wildly abstract sets and dramatically exaggerated makeup. He serves as an endpoint to this section because Henderson exemplifies the by-product which can result from the constant need to reevaluate and think through existing theories. About The Journal | Submissions Being a humanist he believes that the idea precedes the invention and hence is superior to the technical means used to achieve it. Most editing sequences juxtapose shots of varying space, time, and content combining to create an over- all idea, meaning, or tone. Totaro received his PhD in Film & Television from the University of Warwick (UK), is a part-time professor in Film Studies at Concordia University (Montreal, Canada) and a longstanding member of AQCC (Association québécoise des critiques de cinéma). Bazin uses the terms interchangeably. The implication is that there is a choice between one type of reality and another. Bazin employs a simple aesthetic criteria for deciding when to edit: anytime two or more objects/subjects are necessary to the construction of meaning in a scene, depth of field is preferable over editing. It is edited with an introduction by critic and film maker Francious Truffant. An icon used to represent a menu that can be toggled by interacting with this icon. But it is equally as impossible to make a film without making some sort of statement and imposing some type of perspective on the viewer. Later in the essay he discusses the process shot, an equally deceiving effect, and says that the point is not whether or not the trickery is noticeable, but whether or not it is used (a question of integrity). Murnau. Hugh Gray, (Berkeley : University of California Press, c1967-71). Bazin is not against editing which forms the basis of film structure, that is cutting necessary to join unconnected scenes/sequences, but is against optical illusions (superimpositions, dissolves, process shots), needless pedestrian editing within a single scene, and expressive editing that adds meaning through the juxtaposition rather than content of each image. In Pudovkin’s illuminating and influential film theory the natural way for a filmmaker to constitute a scene is to assume a hypothetical “perfect” observer, an imaginary, attentive, sensitive eye which captures the scene not the way everyone would see it but the way an acutely intense, analytical, and probing observer would. Produced by Jacob Bliokh and directed by Sergei Eisenstein. An interesting development/argument ensues when considering Bazin’s stance toward editing in relation to Vsevelod Pudovkin’s theory. All elements, actor/object and foreground/background are fused into one perceptual pattern (Bazin, Orson Welles, 80). At this point Henderson does not posit any answers, but only raises the question of whether there can be a theory dictating the complete organization of a film. Since Bazin believes that the origins of an art reveal its nature, cinema’s quest for realism supports his claim for an objective and pure cinema. The purest form of Bazin’s vision of the ultimate realistic film, with no visible montage, no plot, no artificial or suggestive elements, and no signals sent to the audience to aid in its interpretation, is perhaps contradictory to the very purpose of this art form’s existence. Montage is untruthful to spatial integrity and also deceives the audience through its juxtapositioning; therefore montage is of secondary importance, morally and aesthetically, to the mise-en-scéne style. Written by one of the foremost film scholars of our time; Establishes cinema's distinction from the current enthusiasm over audio-visual entertainment, without relegating cinema to a single, older mode By 1928 the Imagists peak with a) expressionism and b) Soviet cinema. Given Bazin’s strong Catholic background it may or may not be begging credulity to mention at this point an underlying presence of religious reverberation in lines two and six. Later, in his now famous essay “The Evolution of the Language of Cinema” he would extrapolate this formula of “idea necessitating technical means” into complexity of subject matter necessitating a new form/style. All of these quotes or paraphrases are taken from What is Cinema Vol. 1. In this essay, I provide a content analysis of commercially and critically successful films that perpetuate popularized Islamophobia, which is often masked as irreconcilable religious and cultural difference although it has in fact been consistently... Often regarded as the glorious palace showcasing contemporary world cinema (“Press Conference”), the Cannes Film Festival epitomizes the roles of an accreditor, an archaeologist, and a political activist. That would be impossible, and if possible it would be a visual quagmire. Home | Current Issue | Blog | Archives | I admit that even the few criticisms I make with regard Bazin’s critical application of realist style can be smoothed over by relating Bazin’s analysis of cinematic language to his larger philosophical and theoretical aims. Bazin realizes that the human eye does not perceive a scene in the same way as a camera recording a scene in depth of field and/or long take. The true realist does not fight against this opposition but merely tries to accommodate it through sincerity and honesty. In the forty years of André Bazin's brief life (1918–58), he managed to re-map the relationship between the average moviegoing spectator, the film critic and the cinema industry, insisting that a thoughtful and demanding public could in fact shape the trajectory of cinema as an institution. Having pointed toward Bazin’s preference for the mise-en-scéne style I will now discuss his reasons for that choice. A film, however it is shot, is and always will be a work of art. The force of History does not always obey, and this movement does not hold true for long. It cannot help but express in some way the views and feelings of its creator. This realism of plenitude is, however, accompanied by an acute consciousness of loss … This mode appropriates the realism of the narrative process and the mental process following it. 1 Possibly as a means of countering mortality, humanity has forever been attempting to preserve his/her likeness in one form or another. Bazin describes editing as a “series of either logical or subjective points of view of an event.” Dealing with sound films, he lists three motives for cutting: 1) As a purely logical descriptive analysis of the narrative 2) As a psychological analysis from a character’s point of view and 3) As a psychological analysis from the audience’s point of view. Edited by Dudley Andrew, 3–12. This moral and ethical link does not circumvent the ideological, but stands as a way through the “impasse” of the ideological, or, to once again quote Prakash, “pseudorealism” to get at the “true realism.”. ISBN 10: 0520242270. Bazin opposes the contention that editing is a more realistic depiction of the physiological viewing process on several counts. One of the conclusions he arrives at is that both theories, albeit drastically different, are in the general sense, ‘incomplete’ theories of the sequence. Bazin sees cinema as “an idealistic phenomenon” and only consequently technical. The fact that the lion is tame is unimportant; this deceit is made “morally” correct because it occurs in a homogenous space. This oversight is surprising, especially with the evidence already building around Bazin toward the evolutionary direction which the dialectics of realism/formalism would take: toward a harmonious existence where the two become more or less equal and interchangeable operative modes of a complex art form. André Bazin, film critic, theorist, philosopher, and humanist wrote a series of essays between the years 1944 and 1958, before he died at the young age of 40. LibraryThing is a cataloging and social networking site for booklovers Further, cinema’s ability to record the event in time, making “an imprint of the duration of the object” elevates it above photography. Essays   This aural component is still excluded by many people today when discussing the claim to realism cinema has over other arts. DVD. Bazin’s starting point for his historical overview is the silent period. According to Bazin, within the historical conditions of the 1940s and 1950s, the best way to achieve this was by means of spatial integrity, depth of field, and the long take mise-en-scéne. "The Myth of Total Cinema" (1946) André Bazin * is the constant desire to represent reality as completely as possible, which he claimed as the root of cinema innovations *all the techniques of mechanical reproduction of reality since the nineteenth century, from photography to … From the start he makes a distinction between “those directors who put their faith in the image and those who put their faith in reality”.1. 5 The soft focus effect is (my translation). is an attempt to chronicle where the best of cinema might be today and where is will be, or should be tomorrow. By the late 30’s sound technique leads montage toward realism. 50-54, 12.) With the ameliorization of the depth of field shooting style and the parallel advancement of audience awareness, soft focus becomes a technique (rack focus and softening of a part of the image for an effect) and takes on a different meaning, that of decoupage. What Is Cinema? By “freeing” the object Bazin is implying a form of salvation or transgression to a higher moral/spiritual plateau. UFA, 1926. “A Bazinian Half-Century.” In Opening Bazin: Postwar Film Theory & Its Afterlife. He claims that the introduction of sound, far from destroying film as an art form, actually enhanced it as an essential element of reality. 6 According to Bazin decoupage in depth approaches a realism in an ontological sense, restoring to objects their existential density. DVD. Welles even uses the “realistic” device of deep focus to create symbolic effects such as placing a character further into the room to make him seem smaller and more insignificant. This interplay between contemporary and past theorist is a vital part of the theoretical world’s evolution and proves the validity of past theories. Pages: 207 / 206. The master shot establishes a location so that the cutting to points within is physically (spatially) understood; the dramatic action makes it psychologically understood. (Example: The problem of reproducing three dimensional objects in a two dimensional medium – positioning of object- and the intangible aspect of intuition – deciding whether a person is more him or herself in profile or full face or whether one angle of a mountain is more expressive than another) (Arnheim, 8- 11). For the sake of argument, I shall take my examples from the cinema. Book Summary: Through metaphors and allusions to art, science, and religion, Andr Bazin's writings on the cinema explore a simple yet profound question: what is a human? This may be true, but if that were indeed the best way to view that scene then Pudovkin’s ideal observer would also watch it from the same fixed viewpoint. Volume 7, Issue 7 / July 2003 Mise-en-scéne can incorporate two styles, one being a documentary­-like process where the camera “allows us to see” the event (Neo- Realism) and a second more aesthetic rendition of reality where the realism derives almost exclusively from the respect for spatial unity (Welles, Andrei Tarkovsky, and Theo Angelopoulos). The frame/shot/scene/sequence are the principal building blocks of film, with the sequence being the largest “part.” Bazin’s mise-en-scéne contains all these elements and his constant championing of mise-en-scéne at the expense of montage dictates how these elements should be used; as such, this constitutes a theory of how a film should be constructed from beginning to end. Please login to your account first; Need help? Noel Burch, in Theory of Film Practice, defines the three terms for which decoupage is inter­changeably used for as: 1) The final form of a script replete with the required technical information. There is some historical truth in Bazin’s schema because, indeed, the imagists did dominate during the silent period, as did the realists during the later 30’s, but Bazin’s contention of the post 1940 period being dominated by the realist style is quickly but into question by film-noir, a movement/style derivative of German Expressionism. The integrity of spatial unity is of the utmost importance and supercedes all else – deceit included. Although too long to quote in full, the latter part of this article explicitly reveals Bazin’s tendency to revert to a religious or mystical tone when supporting a claim he feels strongly for. (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. THE EVOLUTION OF FILM LANGUAGE by André Bazin a synthesis of three articles, by Bazin, the first written for Vingt ans de cinema à Venise (1952), the second published in no. Given a simple, straightforward scene where the meaning is only at the surface level, Bazin’s resistance to the theory is tenuous, but a complex scene with possible multiple interpretations gives more credence to Bazin’s opposition. Therefore it is not faithful to reality, either spatially, temporally, or morally. Logical cutting according to drama, narrative, and anticipation constructs a sense of an integral space. A final quote serves, perhaps more than any other, as a testament to Bazin’s burning stance as “realist” theorist (my translation): Unlike Eisenstein, who wrote voluminously on montage and comparatively little on its antithesis, Bazin wrote substantially on montage. Editor and translator Dudley Andrew is R. Selden Rose Professor of Film and Comparative Literature at Yale University. The imagists, having had their glory days in the silent period, were confronted by the realists and, after a realist maturation period in the 30’s, over­taken by them. Although he admits that “it was montage that gave birth to film as an art”2, he is apprehensive of anything that supports “the creation of a sense or meaning not proper to the images themselves but derived entirely from their juxtaposition”.3 He feels that any manipulation of the image such as the suggestive editing developed by Eisenstein or the dramatic sets and lighting of German Expressionism stands in the way of releasing film’s true potential for realism. Click to read more about What Is Cinema? by Donato Totaro "An Analysis of Film Critic Andre Bazin's Views on Expressionism and Realism in Film." 51 min. Once the night show... Jean Baudrillard’s essay ‘The Precession of Simulacra’ from Simulacra and Simulation (1981) is a key postmodern text to understanding the contemporary technological Western world. Volume 7, Issue 7 / July 2003 Selections from these four volumes were trans­lated by Hugh Gray and presented in two English volumes: What is Cinema? André Bazin (French: ; 18 April 1918 – 11 November 1958) was a renowned and influential French film critic and film theorist.. Bazin started to write about film in 1943 and was a co-founder of the renowned film magazine Cahiers du cinéma in 1951, with Jacques Doniol-Valcroze and Joseph-Marie Lo Duca..

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