By Dudley Andrew
What Cinema Is! bargains a fascinating resolution to Andre Bazin's famous query, exploring his 'idea of cinema' with a sweeping glance again on the close to century of Cinema's extra special ascendancy.
* Written via one of many ideal movie students of our time
* Establishes cinema’s contrast from the present enthusiasm over audio-visual leisure, with out relegating cinema to a unmarried, older mode
* Examines cinema's associations and its social strength in the course of the features of key movies
* lines the background of an concept that has made cinema supremely alive to (and in) our instances
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Extra info for What Cinema Is!
Sample text
The photo] acts upon us—almost—like Pierre in person. ) In the second paragraph of the ‘‘Ontology’’ essay, one can feel Sartre hovering nearby. ’’22 Bazin underlined this sentence and bracketed the whole passage, which he then reworked, for his own different purpose. ’’ Bazin begins his notes accepting Sartre’s distinction between the photograph as a transparent nothing, a vehicle rendering the analogon of its object directly to consciousness, versus the photograph as a black and white something, whose material features (marks of lighting, shade) cause us to see it momentarily as an object like any other, like a carpet or piece of wallpaper.
32; p. 39 in the French. The Camera Searching in the World 27 23. , p. 162. 24. See Dudley Andrew, Andre Bazin (New York: Columbia University Press, 1990), p. 58. 25. In Critique, 7 (December 1946). 26. This footnote appears in the French but not in the English edition of Verve, which were published simultaneously in summer 1940. ), Reflections on Art: A Source Book of Writings by Artists, Critics, and Philosophers (Baltimore, MD: Johns Hopkins Press, 1958). 27. Joubert-Laurencin imagines Bazin and Benjamin working side by side at the Bibliotheque nationale de France in 1938, where both were in fact pursuing research on Baudelaire.
Unlike Truffaut, and unlike Dufayal, Jeunet is an untormented artist; in his world everything can be pictured, each mystery unveiled. Indeed, the mechanism of discovery constitutes the chief pleasure of his aesthetic, rather like Amelie’s practical jokes. She calls Bretodeau to the phone booth and to an encounter with his childhood, which she watches from the wings; she interrupts the broadcast of a soccer match; she exhumes a conjugal love by constructing, then posting, a 20-year-old lost letter.