In “The Evolution of the Language of Cinema” Bazin speaks o: the image as being evaluated not according to what it adds t< reality but what it reveals of it. "The Evolution of the Language of Cinema". Andre Bazin. Jean Renoir; Precursor to Welles, understood the importance of depth; Orson Welles. Film critic Andre Bazin had very strong feelings on the subject of montage and realism. In his article “The Evolution of the Language of Cinema”, he explains his .
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No doubt Wyler was afraid ecolution the spectator would be too fascinated by the piano exercises and might gradually lose interest in the main action, i.
Bazin explores the cinematic language that emerged between —largely driven by the american hollywood system which consisted of major film types:. It is above all in the direction taken by Stroheim and Murnau, almost entirely neglected in the s, that the cinema has been veering more or less consciously in the last ten years. The painting, being confronted i the mechanically produced image with a competitor able to reac out beyond baroque resemblance to the very identity of the mode was compelled into the category of object.
Even after the appearance of cellu- loid strips Lumiere tried to use paper film. Email required Address never made public. One can imagine that in it would have been edited as follows: And so in aboutfilms were almost always put together according to the same principles.
Another manifestation of the same kind of thing is the arrow- pierced clay bear to be found in prehistoric caves, a magic identity- substitute for the living animal, that will ensure a successful hunt. Lists with This Book. The film does an admirable job of not over-sentimentalizing the figure of Umberto himself.
The Evolution of Film Language – André Bazin
A former British colony, it has retained its unique legal system, electoral system, and political democracy. Is the cinema or what remains of it incapable of surviving without the twin crutches of literature and theater? This item appears on List: Art for art’s sake is just as heretical in cinema as elsewhere, probably more so. Expressionist editing almost completely disappeared, but the relative realism of that narrative style which was the general rule in contained a congenital limitation of which we could not at the time have been aware, so perfectly appropriate to it were the subjects that were treated.
The spectator has only to follow the gaze of the characters like a pointing finger and he will have an exact understanding of all the intentions of the director. On the contrary, the autonomy of the means of expression, and the originality of subject matter, have never been greater than they W ere in the first twenty or thirty years of the cinema. The objective nature of photography con- fers on it a quality of credibility absent from all other picture- making.
Furthermore, the cinema owes virtually nothing to the scientific spirit. As for the real savants such as Marey, they were only of indirect assistance to the cinema.
The solution is not to be found in the result achieved but in the way of achieving it. It was a difficult task. A word about content first of all: The two lovers are visually and logically thrust into the left part of the frame.
The photograph as such and the object in itself share a common being, after the ciinema of a fingerprint. The nostalgia that some still feel for the silent screen does not go far enough back into the childhood of the seventh art.
To some extent, one could say the same thing about the myth ahdre cinema, but its forerunners prior to the nineteenth century have only a remote connection with the myth which we share today and which has prompted the appear- ance of the mechanical arts that characterize today’s world. I am perfectly aware that there is a case for maintaining that the originality of the post-war cinema, compared with that oflies in the emergence bazkn certain individual countries as film-producers, especially in the dazzling explosion of the Italian cinema and the appearance of a British cinema that was original and free from influences from Hollywood; that the truly important phenomenon of the s was the infusion of new blood, the opening up of unexplored regions; that the real revolution took place more on the level of subject-matter than of style, and concerned what the cinema had to say to the world rather than the way of saying it.
A feeling for the photographic document developed only gradually. The latter, in particular, satisfied the baroque need for the dramatic. To be more precise, I should point out that this scene is cut twice by a close shot of March looking at the call box.
THE EVOLUTION OF FILM LANGUAGE
Then suddenly, to our horror, the director abandons his montage of separate shots that has kept the protagonists apart and gives us instead parents, child, and lioness all in the same full shot. You might as well cineja the bal-musette or bebop from classical choreography. Cinema developed under sociological conditions very different from those in which the traditional arts exist. What are reading intentions?
Anyone who can use his eyes must realise that Welles’s plan sequences in The Magnificent Ambersons are by no means the passive ‘recording’ of an action photographed within a single frame, but that on the contrary this reluctance to break up an event or analyse its dramatic reverberations within time is a positive technique which produces better results than a classical breakdown of shots could ever have done. Mary marked it as to-read Sep 10, The framing more or less takes up the position of the absent fourth wall of a theatre stage or, out of doors anyway, of the best viewpoint of the action, whereas the sets, the camera angle and the lighting in the second composition have to be looked at with different eyes.
All that matters is that the ‘.
Even Griffith is one of them, for example. It is not for me to separate off, in the complex fabric of the objective world, here a reflection on a damp sidewalk, there the gesture of a child.
Summary of “The Evolution of the Language of Cinema”
The Soviet Union has made special efforts in this field but it is my feeling that films like Lone White Sails are already aimed at young adolescents. From toa certain kinship of expression in the cinema grew up throughout the world, originating in particular from America.
Cami marked it as to-read Jan 09,