Bazin was a co-founder of the renowned film magazine Cahiers du Cinéma (1951), along with Jacques Doniol-Valcroze and Joseph-Marie Lo Duca. A major force in post-World War II film studies and criticism, Bazin edited Cahiers until his death. After his death, a four-volume collection of his writings, covering the years 1958 to 1962, and titled Qu'est-ce que le cinéma? (What is Cinema?) was published posthumously.
André Bazin
(1918 -1958)
Bazin's critical system argues for what he considered to be "objective reality." This filmic view is demonstrated by documentaries and Italian neorealism, and "invisible" directors (such as Howard Hawks). Bazin specifically advocated the use of deep focus, wide shots, and the "shot-in-depth." Bazin also preferred "true continuity," accessed through mise-en-scène, as opposed to experiments in editing and visual effects, setting himself in direct opposition to earlier film theory of the 1920s and 1930s. His concentration on objective reality, deep focus, and lack of montage are
linked to Bazin's belief that the interpretation of a film or scene should be left to the spectator.
MOTIVATIONS AND IDEAS
• Strong consideration of the views of expressionism, especially those including montages and clashing images, as the essence of cinema.
• Bazin labels Eisenstein’s approach to montage as one that puts its “faith in the image.”
• Contends that through the contents of image and the resources of montage, cinema has an arsenal of means available to impose its interpretations on an audience.
• Believed that the interpretation of a film or scene should be left to the spectator.
• Argued for cinematic “true continuity” (without director interference), instead of experiments in editing (montage) and visual effects.
• Focuses on three main concepts; media based in objective reality, personal vision seen through the use of mise-en-scéne, and that the film (including image and narrative) should allow for audience interpretation.
RELATED STUDY TERMS
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Objective Reality – a reality that completely exists independent, and regardless, of any conscious entity to observe it.
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Ontology – deals with the nature of "being" (in film) by creating a set of cinematic concepts and categories that show the properties and the relationship between them.
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Pseudo-realism – a highly subjective term used to describe film perceived as superficial, not-real, or non-realistic.
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Iconography – the conventional and traditional visual images and symbols associated with a subject.
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Neorealism – a naturalistic movement representing a modified form of realism. Emerged in 1940s Italian cinema.
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Relevant film: Bicycle Thieves (De Sica, 1949)