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Of all the criticisms of André Bazin’s defense of cinematic realism, the most damning has been the claim that he did not account for its role in normalizing ideological and political interests. This article seeks to demonstrate that, on the contrary, he asserted a deep connection between the emergence of the medium and the political ...
According to Bazin, it is this sense of realism that film makers are obliged to maintain because it defines the cinema’s organic ontological status and justification as a separate art form. As man’s “idealistic phenomenon” (“Myth” 17), cinema was imagined “as a total and complete representation of reality … in sound, colour, and ...
Welles held particular appeal for Bazin because of the in-depth realism of his films. Bazin's criticism prized realism over experimental cinematic devices such as surreal imagery and montage (rapid editing, often enhanced by special effects). He admired Welles's use of depth of field to direct the viewer's attention to various parts of a scene ...
the reception of Bazin's realism, resulting in facile summations that neglect or misrepresent the more sophisticated, nuanced version he presents. Situated within the larger reappraisal of Bazin's work taking place in film studies – known collectively as "neo-Bazinianism" – this thesis acts as a much-needed corrective to the
Volume I. André Bazin. University of California Press, 2005 - Performing Arts - 208 pages. 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 ...
The essay delves into the perspective of influential film theorist André Bazin, exploring his views on realism, minimal editing, and the unique potential of the camera to capture reality. Then it navigates through Bazin's reservations on montage, considering it an interference in cinema's potential for an authentic portrayal of reality.
Abstract. Andre Bazin's realist theory of film and television includes four claims. First, film and television images are made automatically; second, images represent an underlying reality of appearance; third, film images represent the world by resembling it; fourth, artists fashion unbiased pictorial representations by remaining neutral.
