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 vii
... Montage In Defense of Mixed Cinema Theater and Cinema Part One Part Two Le Journal d'un curé de campagne and the Stylistics of Robert Bresson Charlie Chaplin Cinema and Exploration Painting and Cinema Notes Index CONTENTS ix 1 9 17 23 ...
... Montage In Defense of Mixed Cinema Theater and Cinema Part One Part Two Le Journal d'un curé de campagne and the Stylistics of Robert Bresson Charlie Chaplin Cinema and Exploration Painting and Cinema Notes Index CONTENTS ix 1 9 17 23 ...
Página xi
... Montage , " and " Cinema and Painting " are indeed compilations ) . The idiosyncrasies and imperfections of some of the essays , he felt , are what give them character and , as is the case with concrete , a certain tensile strength ...
... Montage , " and " Cinema and Painting " are indeed compilations ) . The idiosyncrasies and imperfections of some of the essays , he felt , are what give them character and , as is the case with concrete , a certain tensile strength ...
Página xviii
... Montage , " Bazin applied the characteristics he identified in " The Evolution of the Language of Cinema " to the mi- nor genre of the children's film . In this case , the genre was not treated as an evolving organism but as a constant ...
... Montage , " Bazin applied the characteristics he identified in " The Evolution of the Language of Cinema " to the mi- nor genre of the children's film . In this case , the genre was not treated as an evolving organism but as a constant ...
Página xix
... montage promote or defeat the effect of " the marvelous " aimed at by the genre . One cannot , for the sake of eloquence or con- venience , cut into the space of the marvelous without turning it into standard cinematic spectacle . While ...
... montage promote or defeat the effect of " the marvelous " aimed at by the genre . One cannot , for the sake of eloquence or con- venience , cut into the space of the marvelous without turning it into standard cinematic spectacle . While ...
Página xx
... montage by which the Soviets ripped realistic images out of spatial and temporal continuity to de- velop strings of metaphors and other figures that permit discursive complexity . The era in which he wrote , from the outset of the ...
... montage by which the Soviets ripped realistic images out of spatial and temporal continuity to de- velop strings of metaphors and other figures that permit discursive complexity . The era in which he wrote , from the outset of the ...
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accelerated montage action actor actually adaptation aesthetic Alain Resnais André Bazin artistic audience Bernanos Bois de Boulogne Bresson Cahiers du Cinéma camera century character Charlie cinema cinematographic Citizen Kane close-up Cocteau comedy complete Crin Blanc critic cultural curé Dames du Bois decor derive dialogue director documentary dramatic editing effect essays essence essentially evolution example existence expedition expression fact faithful fidelity film d'art film-maker filmed theater footlights gives hand illusion imagination Jean Renoir kind language least Les Parents terribles less literature longer look Malraux Marcel Pagnol matter means Molière montage myth nature never novel novelist object Ontology original painter painting paradoxical Parents terribles photography plastic arts play precisely present psychological pure realism reality Resnais Robert Bresson Rohmer scene screen sense Serge Daney shot silent film simply sound space spectator stage story style technique theatrical things tion true