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." |
Dentro del libro
Resultados 1-5 de 32
Página xi
... sound cinema and a movement that ratified and con- tributed to his understanding of the medium . Rohmer insists that Bazin did not hastily impose this order from his deathbed , searching for the main threads of a xi Foreword to the 2004 ...
... sound cinema and a movement that ratified and con- tributed to his understanding of the medium . Rohmer insists that Bazin did not hastily impose this order from his deathbed , searching for the main threads of a xi Foreword to the 2004 ...
Página xii
... sound quite like Gilles Deleuze , as a thinker obsessed with creating new concepts . Rohmer says , " The purpose of each new article is not to complete or clarify a thought that was par- tially expressed elsewhere or even to offer more ...
... sound quite like Gilles Deleuze , as a thinker obsessed with creating new concepts . Rohmer says , " The purpose of each new article is not to complete or clarify a thought that was par- tially expressed elsewhere or even to offer more ...
Página xiii
... sound ) cin- ema . It was to Leenhardt and to Francois Truffaut that in 1958 Bazin dedicated his collected works : the first man representing his heritage , the second his legacy . Leenhardt met Bazin frequently at the cine - club of ...
... sound ) cin- ema . It was to Leenhardt and to Francois Truffaut that in 1958 Bazin dedicated his collected works : the first man representing his heritage , the second his legacy . Leenhardt met Bazin frequently at the cine - club of ...
Página xx
... sound and im- age relations needed to be radically readjusted to deliver subjectivity , reflection , and perception in subtle ways . Bazin became the leading theorist of these post - war developments , elaborating Alexandre As- true's ...
... sound and im- age relations needed to be radically readjusted to deliver subjectivity , reflection , and perception in subtle ways . Bazin became the leading theorist of these post - war developments , elaborating Alexandre As- true's ...
Página 5
... 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 him to reject , at least by implication , those who in the middle ...
... 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 him to reject , at least by implication , those who in the middle ...
Otras ediciones - Ver todas
Términos y frases comunes
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