By André Bazin

An evidence learn model of the very pricey publication. benefit from the most crucial essays of Bazin compiled by means of Cardullo with a excessive ticket! no longer anymore! get pleasure from!

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Extra resources for Bazin on Global Cinema, 1948-1958

Sample text

That is to say, they escape time since they can’t be framed except before and after the event. The scandalousness of cinema is that it is able to make us see death as an instant perfectly identical with others, whereas it is the only one of our actions that by its very essence can’t ever be reenacted. The screen can make us witness this monstrous phenomenon: to re-die. Each Chinese man in the photograph is, on demand, alive again for every show: and the impact of the same bullet lightly shakes the back of his head.

Such a text is the essence of a play, its imperishable nucleus, whereas the mise-en-scène of a film can’t be distinguished from its script any more than the body can be from the soul. Reshooting a film may be analogous to rewriting a play, but the two activities are not synonymous: you don’t rewrite Molière’s The Miser []. /$%0122244 )34(3+5222'65(278 Copyright 2014, UT Press Author's Set of our imagination and prevents it from accompanying the thread of time that pulls us forward, takes on a subtly destructive form when it touches the actor—at least the kind completely identified with cinema and known as the movie star.

In an ever more discreet fashion, sound cinema has had to invent its own mise-en-scène, which was already rich during the silent period; having been left with little new ground to conquer, sound films have taken instead to refurbishing and refining the filmic landscape. The age of great technical discoveries, after all, has come to a close. Yet now, after the war, we hear for the first time insistent talk about the crisis of cinema, and formal perfection is newly reproached as a blemish on the medium, especially in American film.

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