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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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Civilization is but a sieve through the holes of which there passes the discard. This was also the first and to date only corrected edition of Bazin’s writings in any language.

It was even money as to which were the good guys and which the bad. Take a close look at the world, keep on doing so, and in the end it will lay bare for you all its cruelty and its ugliness. It is true that the arrival of sound proved fatal to a certain aesthetic approach to film language, but this was an approach that was leading it farthest away from its vocation for realism.

Even after the appearance of cellu- loid strips Lumiere tried to use paper film. Jesse Ortiz marked it as to-read Jun 08, Murnau or Robert Flaherty. Every interruption evoked an “ah” of disappointment and every fresh start a laanguage of hope for a solution.

Civilization cannot, however, entirely cast out the bogy of time. Thanks for telling us about the problem. This shot is clearly governed by two points of dramatic interest and three characters. Slight track back to take in the actor from the knees up, seizing a chicken’s wing. It rejected the metaphor and the symbol, and aimed instead at an illusion of languaeg representation.

Of course, the studios never stopped trying to improve their equipment, but these improvements were only incidental – none of them opened up radically new possibilities in film direction. Dramatic effects for which we had formerly relied on montage were created out of the movements of the actors within a fixed framework.

Major varieties with clearly defined rules capable of pleasing a worldwide public, as well as a cultured elite, provided it was not inherently hostile to the cinema. It would be a reversal then of the concrete order of causality, at least ajdre, to place anndre scientific discoveries or langauge indus- trial techniques that have loomed so large in its development at the 21 What Is Cinema?


Whether an episode is analyzed bit by bit or presented in its physical entirety cannot surely remain a matter of indifference, at least in a work with some pretensions to style.

Andre Bazin “The Evolution of the Language of Cinema” by Eric Ni on Prezi

If there had only been one wild horse painfully subjected to the de- 47 mands of the camera, the film would have been just a tour de force, an exhibition of successful training like Tom Mix and his white horse, It is clear what we would lose by this.

Thus if it is evident to us today that the cinema even at its most elementary stage needed a transparent, flexible, and resistant base and a dry sensitive emulsion capable of receiving an image instantly — everything else being a matter of setting in order panguage mechanism far less complicated than an eighteenth-century clock — it is clear that all the definitive stages of the invention of the cinema had been reached before the requisite conditions had been fulfilled.

The film does an admirable job of not over-sentimentalizing the figure of Umberto himself. They are just one stylistic device among evolutiion.

Readings: The Evolution of the Language of Cinema |

To anybody with eyes in his head, it is quite evident that the one-shot sequences used by Welles in The Magnificent Amber sons are in no sense the purely passive recording of an action shot within the same framing. Thus Crin Blanc is at one and the same time a langiage horse that grazes on andrw salty grass of the Camargue and a dream horse swimming eternally at the side of little Folco. This story, the meaning of which was a complete mystery to the audience, held its attention and carried it along purely and simply by the tension created in the telling.

These are to be found in three devices generally known as ‘parallel editing’, ‘accelerated editing’ and ‘editing by attraction’.

Yet he was in no sense a pedant, remaining ever in command of the appropriate use of all these terms. However to get this result he had to be satisfied with wet collodion on a glass plate, that is to say, with just one of the three necessary elements — namely instantaneity, dry emulsion, flexible base.

The framing in the film is intended, to all intents and purposes, as a substitute for the missing fourth wall of the theatrical stage, or at least in exterior shots, for the best vantage point to view the action, whereas in the second case the setting, the lighting, and the camera angles give an entirely different reading. Film critic Andre Bazin had very strong feelings on the subject of montage and realism.


Whereas with analytical editing they have only to follow their guide and let their attention focus on whatever the director has chosen for them to see, a certain minimum of personal choice is required here.

The same scene then can be poor literature or great cinema according to whether montage or a full shot is used. Flaherty however confines himself to showing the actual waiting period; the length of the hunt is the very substance of the image, its true object Thus in the film this episode requires one set- up. Produced and directed by Orson Welles. They derive solely from his own thinking. A feeling for the photographic document developed only gradually.

An Analysis of Film Critic Andre Bazin’s Views on Expressionism and Realism in Film

On the contrary, an approximate and complicated visualization of an idea invariably precedes the industrial discovery which alone can open the way to its practical anndre. There was no question of preexisting action broken up by intervals, but of a piece unduly interrupted, an inexhaustible spring, the flow of which was blocked by a mysterious hand. This Mitry challenges, refusing tc accept the argument that because the camera automatically regis- ters a given “reality” it gives us an objective and impartial image ol that reality.

Is not neorealism primarily a kind of humanism and only secondarily a style of film-making? But there again, the phenomenon languahe radically new and this seems to imply respect for the theatrical character of the model as an inviolable principle. It was a difficult task. Let me say however that it is for his influence on Ms contemporaries that I hold him so deep in my affections. The partially blurred cihema, which came in only with editing, was not simply due to technical subservience resulting from the use of close shots; it was the logical consequence of editing, its plastic equivalent.

Undoubtedly, the talkie sounded the knell of a!