Bazin at Work: Major Essays and Reviews From the Forties and by Andre Bazin, Bert Cardullo

By Andre Bazin, Bert Cardullo

Bazin's impression on movie artwork, as theorist and critic, is taken into account to be more than that of any unmarried director, actor, or manufacturer. he's credited with nearly single-handedly constructing the research of movie as an approved highbrow pursuit, in addition to with being the religious father of the French New Wave. Bazin at Work is the 1st English selection of disparate Bazin writings because the visual appeal of the second one quantity of What Is Cinema? in 1971. It comprises paintings from Cahiers le cinema (which he based and that's the main influential unmarried serious periodical within the background of the cinema) and Esprit. He addresses filmmakers together with Rossellini, Eisenstein, Pagnol, and Capra and recognized motion pictures together with La Strada, Citizen Kane, Scarface, and The Bridge at the River Kwai.

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The characters grouped on the right, in the middle ground, apparendy constitute the main dramatic pole, since near­ ly everyone is assembled here for the wedding of the crippled sailor and his long-time sweetheart. In fact, however, since their marriage is now to be taken for granted, the attention of the viewer focuses on Teresa Wright (in white in the third plane) and Dana Andrews (on the left in the fore­ ground), who meet for the first time since their breakup. During the entire wedding scene, Wyler skillfully directs his actors in order gradually to iso­ late from the wedding party Andrews and Wright, who, the viewer feels, cannot stop thinking about each other.

There is in him a sort of genius about his profession, about all things cinematic, which allowed him to stretch an economy of means so far that, paradoxically, he invented one of the most personal styles in contemporary cinema. To attempt to describe this style, however, we had to pretend first that it was an absence of style. Cinema is like poetry. It would be foolish to imagine cinema as an iso­ lated element that one could capture on celluloid and project on a screen through a magnifying lens.

From the perspective of dialectical materialism, the hero must retain a human dimension, he must be categorizable only in a psycho-his­ torical sense, and he must not possess the kind of transcendence that characterizes capitalistic mystification, the best example of which is to be found precisely in the mythology of the star. From this point of view, the masterpiece of Soviet films with historic heroes is surely Chapayev (1934; dir. 13 If you have the opportunity to see it again at some film soci­ ety, you will notice with what intelligence the failings of Chapayev, even in his manifesdy most heroic acts, are suggested without diminishing him at all psychologically.

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