Download André Bazin (Revised Edition) by Dudley Andrew PDF

By Dudley Andrew

André Bazin, frequently dubbed the daddy of the French New Wave, has had an important effect on movie paintings. he's credited with virtually single-handedly constructing the examine of movie as an approved highbrow pursuit. The magazine that he based in 1951, Cahiers du Cinéma, continues to be the main influential archive of cinema feedback. He continues to be some of the most learn, so much studied, and most attractive figures ever to have written approximately movie. the previous couple of years have witnessed a major resurgence of curiosity in Bazin between critics, students, and scholars of each persuasion. His writings, a mainstay of movie concept classes, are actually discovering a spot at the syllabi of middle classes in movie historical past, feedback, and appreciation. Andrew's highbrow biography is a landmark in movie scholarship.

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Extra info for André Bazin (Revised Edition)

Sample text

I. Pudovkin, Sergei Eisenstein, and Siegfried Kracauer. I worked my way through Jean Mitry’s Esthetique et psychologie du cinéma, because his French was easy to understand. Mitry frequently argued with Bazin, but Bazin’s positions were too subtle and his style too literary for me at the time. Then the University of xxix P R E FA C E TO T H E R E V I S E D E D I T I O N California Press brought out Hugh Gray’s translation of What Is Cinema? and immediately I found in the prose and in the ideas the complexity I had been waiting for, as well as a philosophical resonance in accord with my own background and tastes.

A week later, the same magazine printed a remarkable and tender essay by Jean Renoir in which Renoir said that Bazin alone taught him that there was a French tradition in film and showed him his place in it. “He created a national art. ”3 The January 1959 issue of Cahiers du Cinéma (No. 91) was devoted entirely to Bazin. Doniol-Valcroze commissioned eight short essays from Bazin’s closest friends and arranged them to form a chronological survey of Bazin’s developing personality and mission. In addition, he published a cluster of tributes, including some astonishing notes from Bresson, Buñuel, Cocteau, Fellini, Gance, Langlois, and again Jean Renoir.

Pudovkin, Sergei Eisenstein, and Siegfried Kracauer. I worked my way through Jean Mitry’s Esthetique et psychologie du cinéma, because his French was easy to understand. Mitry frequently argued with Bazin, but Bazin’s positions were too subtle and his style too literary for me at the time. Then the University of xxix P R E FA C E TO T H E R E V I S E D E D I T I O N California Press brought out Hugh Gray’s translation of What Is Cinema? and immediately I found in the prose and in the ideas the complexity I had been waiting for, as well as a philosophical resonance in accord with my own background and tastes.

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