What Is Cinema?: Volume IUniversity of California Press, 2005 - 208 páginas André Bazin's What Is Cinema? (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. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinéma, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protégé of François Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not." |
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Página x
... aesthetics at UCLA , a position that included service with Film Quarterly . It was his knowl- edge of Bazin's writings and of Bazin's reputation in France that led to the project . A generation older than Bazin , Gray nevertheless ...
... aesthetics at UCLA , a position that included service with Film Quarterly . It was his knowl- edge of Bazin's writings and of Bazin's reputation in France that led to the project . A generation older than Bazin , Gray nevertheless ...
Página xiii
... aesthetic founded on the social psychology of this popular medium . Where did Bazin acquire the inspiration and the confidence to project a full - blown reorientation of film theory ?7 He had as a model the " little school of the ...
... aesthetic founded on the social psychology of this popular medium . Where did Bazin acquire the inspiration and the confidence to project a full - blown reorientation of film theory ?7 He had as a model the " little school of the ...
Página xv
... aesthetic than of their psychology then it will be seen to be essentially the story of resemblance or , if you will ... aesthetics and psy- chology in the ever - variable " balance between the symbolic and realism . " The tension between ...
... aesthetic than of their psychology then it will be seen to be essentially the story of resemblance or , if you will ... aesthetics and psy- chology in the ever - variable " balance between the symbolic and realism . " The tension between ...
Página xix
... aesthetic factors . Rules governing other genres follow . Some , like restrictions of shot changes in slapstick comedy , seem relatively stable across time ; others — for instance the prohibition against reconstructed events in ...
... aesthetic factors . Rules governing other genres follow . Some , like restrictions of shot changes in slapstick comedy , seem relatively stable across time ; others — for instance the prohibition against reconstructed events in ...
Página xxi
... aesthetic issues lead immediately to moral ones . The values Bazin found in the cinema -- including the discovery of nature , the mystery of human expressions and motivations , and fresh approaches to tired arts — derived from a ...
... aesthetic issues lead immediately to moral ones . The values Bazin found in the cinema -- including the discovery of nature , the mystery of human expressions and motivations , and fresh approaches to tired arts — derived from a ...
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