By André Bazin
Bazin's effect on movie artwork, as theorist and critic, is taken into account to be more than that of any unmarried director, actor, or manufacturer. he's credited with nearly single-handedly developing the learn of movie as an accredited highbrow pursuit, in addition to with being the non secular father of the French New Wave. Bazin at paintings is the 1st English number of disparate Bazin writings because the visual appeal of the second one quantity of what's Cinema? in 1971. It comprises paintings from Cahiers le cinema (which he based and that is the main influential unmarried severe periodical within the heritage of the cinema) and Esprit. He addresses filmmakers together with Rossellini, Eisenstein, Pagnol, and Capra and famous movies together with los angeles Strada, Citizen Kane, Scarface, and The Bridge at the River Kwai.
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Additional resources for Bazin at Work: Major Essays and Reviews From the Forties and Fifties
It seems that there is a direct connection between the movement of a commander-in-chiefs pencil and the sacrifice of a soldier, or at the very least that the intermediate mechanism is without real purpose, is a simple organ of transmission whose recommendations can consequently be ignored. One might argue that there is some truth in this portrayal of events if what one wants is, not the facts, but a simplified, essential picture. Yet, one could question whether this way of thinking is truly Marxist, espe cially since it is incompatible with the concrete nature and the rigorous documentary presentation of both ends of the historical cone.
In other words, paradoxically, we in the West attach too much importance to the individual at the same time as we feel constrained to confer on him a place in History only when his life is over. It is not very difficult for a Frenchman today to be proud of Napoleon. But for a Communist, a great man is one who takes part here and now in the mak ing of History, the direction of which is infallibly determined by its dialectics and by the Party. , it is connected to something outside itself: to the unfolding of History, of which the hero is at this very moment the driving force and the con science.
Indeed, Toland’s talent does not lie in a particularly deep knowledge of the properties of the film stock itself, but above all in an ability to maintain a consistent flow from image to image, besides his sense of framing, about which I will speak again later. Toland maintains a consistent flow not only in the sense that he creates a sharp surface in the conventional shots, but also because he creates the same surface even when he must encompass the entire mass of set, lights, and actors within a virtually unlimited field.