ANDRE BAZIN THE EVOLUTION OF THE LANGUAGE OF CINEMA PDF

Between and a new form of cinema was being created, through the introduction of sound a new form of editing was also being revolutionized. With the invisible use of montage, the scenes are broken down for analytical purposes. The three montage processes are:. Parallel Montage: A sense of the simultaneity of two actions taking place at a geographical distance by means of alternating shots from each. Montage can substitute a vision of an event to alluding to an event.

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He believed that the interpretation of a film or scene should be left to the spectator. Mini history lesson : In the s when this essay was published the Korean War was the hot topic—France sent military volunteers to help with the war. In cinema between and , he sees two trends:. He first discusses what was believed to make up the language of cinema—image and montage. He goes into detail with three types of montage:. However, directors like F. Murnau, Erick von Stroheim, and Robert Flaherty put more emphasis on reality—the reality of time and space.

With these directors, silent film was limiting because it deprived their films of the reality of sound. That ambiguity that Bazin claims that depth of focus reintroduces is key. It preserves the mystery and, as perhaps Welles did best, creates a sort of magic in the performance of cinema—revealing the magic and drama of reality itself, the dramatic potential of conflict between people. Of course, this magic is the spell of art itself, and, Bazin argues, the evolved language of cinema has elevated film as an artform equal to paintings and novels.

Why read this essay? This essay, as most criticism does, makes you think more analytically about the stories and information you are given. It leads you into seeing stories not as gifts or burdens to be passively taken, but conversations to be actively engaged with. Thanks for reading my summary! You are commenting using your WordPress.

You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Skip to content. In cinema between and , he sees two trends: Directors who put their faith in the image. Directors who put their faith in reality.

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THE EVOLUTION OF FILM LANGUAGE

Bazin, Andre. This article explores the evolution of cinema, editing techniques, namely montage vs deep focus long shots through the transition of silent cinema into talkies. Bazin highlights two opposing trends within cinema of the oss. Montage by attraction — reenforcing the meaning of one image by association with another image not necessarily part of the same episode.

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The Evolution of the Language of Cinema

Though the beauty and the passion with which he writes about the art of Cinema is inspiring, I found his main argument overreaching and even disappointing. However, realism is more obscurely defined and a further discussion of what Bazin might mean by realism. To be sure, these movie makers have some similarities but it is questionable in what way the films the earlier films are a step towards realism. He has one simple rule for direction. Take a close look at the world and it will lay bare for you all its cruelty and ugliness. This sounds more like pessimism than realism.

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Summary of “The Evolution of the Language of Cinema”

By , the art of the silent film was at its height. Many of the best directors were understandably, though not justifiably, sorry to witness the disappearance of this perfect world of images. The realism of sound was bound to upset matters. In fact, now that the use of sound has satisfactorily proved that far from annihilating the Old Testament of the cinema it has brought it to fulfilment, one might well ask oneself if the technical revolution that resulted from the introduction of sound could really be called an aesthetic revolution. In other words, did the years really witness the birth of a new cinema? As far as the way a film is put together is concerned, the history of the cinema does not in fact reveal as marked a difference as one might expect between the silent and sound cinema. There are many affinities to be found between certain directors of the s and others of the s and especially the s — between, for instance, Eric von Stroheim and Jean Renoir or Orson Welles, Carl Theodor Dreyer and Robert Bresson.

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Some Thoughts on André Bazin’s”The Evolution of the Language of Cinema”

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