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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... film . Then there was Jean - Paul Sartre , another legend of the Occupation years , who from time to time would show up clandestinely at Bazin's cine - club to see what else — German silent films ! Sartre's Being and Nothingness ...
... film . Then there was Jean - Paul Sartre , another legend of the Occupation years , who from time to time would show up clandestinely at Bazin's cine - club to see what else — German silent films ! Sartre's Being and Nothingness ...
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... films and even of slapstick , to the narrative space pioneered by Griffith , to the invisible , psychologically motivated editing of the Clas- sic Hollywood style . European alternatives pushed the silent film to a level of great ...
... films and even of slapstick , to the narrative space pioneered by Griffith , to the invisible , psychologically motivated editing of the Clas- sic Hollywood style . European alternatives pushed the silent film to a level of great ...
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... silent film as the coming to an end of an art . Not so . For him , sound came not to destroy but to fulfill the testament of cinema . This is a position that follows directly from his central theme of the objectivity of cinema and leads ...
... silent film as the coming to an end of an art . Not so . For him , sound came not to destroy but to fulfill the testament of cinema . This is a position that follows directly from his central theme of the objectivity of cinema and leads ...
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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