By Andre Bazin, Bert Cardullo
Bazin's effect on movie paintings, as theorist and critic, is taken into account to be more than that of any unmarried director, actor, or manufacturer. he's credited with virtually single-handedly developing the learn of movie as an permitted highbrow pursuit, in addition to with being the religious father of the French New Wave. Bazin at Work is the 1st English choice of disparate Bazin writings because the visual appeal of the second one quantity of What Is Cinema? in 1971. It contains paintings from Cahiers le cinema (which he based and that is the main influential unmarried severe periodical within the historical past of the cinema) and Esprit. He addresses filmmakers together with Rossellini, Eisenstein, Pagnol, and Capra and famous movies together with La Strada, Citizen Kane, Scarface, and The Bridge at the River Kwai.
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Extra info for Bazin at Work: Major Essays and Reviews From the Forties and Fifties
History did not echo that war cry, and wherever one places John Ford today, one must place Wyler below him. Both directors have their intrinsic artistic values, however, and it is from this point of view that one may continue to prefer the “writing in cinema” of some of Wyler’s films to the spectacular cinema of John Ford. 22 BAZIN ON DIRECTORS AND ON CINEMA CHAPTER 2 1 he M y t h o f S t a l i n in the S o v i e t C i n e m a One of the original aspects of Soviet cinema is its daring in depicting con temporary historical personages, even living figures.
Similar in this way to live footage of a news event, the resulting picture of war is, so to speak, amorphous: it has no organizing elements, no visible evolution; it is a kind of human, mechanical cataclysm, which looks as chaotic as an anthill that has been stepped on. The camera and the cutting are careful not to make patterned choices from amidst this chaos, which we know, however, has its own secret organization; no details stand out, there is no artillery barrage with its own beginning, middle, and end, and there is no thread of important action or of individual heroism to follow.
The fact that he is the dramatic force in these films implies even more: his life must literally be identified with History, it must become one with the imperious nature of History. Until now, only death could identify the hero or the martyr with his historical moment in this manner. And it was still possible to tarnish his memory, to discover in retrospect some breach of faith. But death remained a necessary, though not sufficient, condition. For Malraux, it is death that makes one’s life one’s destiny; for a Communist, only death can completely absorb the subjectivity of histor ical events (at least this was so until the example of Stalin presented itself).
Bazin at Work: Major Essays and Reviews From the Forties and Fifties by Andre Bazin, Bert Cardullo