Word: bazin
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Dates: during 1970-1979
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...essential difference then, between novels and film is that one is conceptual and time-oriented, while the other is perceptual and space-oriented. The two media only rarely complement each other. Andre Bazin, the French film critic, thought that while films "vulgarized" novels they served a useful purpose because they led people to read the books. But these days it's not too hard to imagine college students who are caught up in the film-as-film trip using films made from novels as entertaining forms of learning. All they have to do is skip the reading and use them...
...Night, the mercurial Leaud character is joined by the director himself, playing a director. The separation is perhaps a sign of Truffaut's gropings for a new directorial maturity: at the recent New York Film Festival he commented that as he had once considered the great film critic Andre Bazin something of a father figure, he had come to look on Leaud as a son. Such is the distance which fifteen years of film-making have opened...
...bourgeois cultural oppression, as he explains in Wind From the East ) based on a more "convincing" and "realistic" image with spatial and dramatic ambiguity. Orson Welles first developed the new realism in Citizen Kane -its elements of symbolism, multi-level causality, mystery, and ambiguity (tragedy, too)-and Andre Bazin glorified it in criticism, developing a metaphysical formalism that invests the most innocent pan or track with human Significance. Autenrist critics go even further in this direction in order to justify selected Hollywood directors with extrapolated. Meaning and with metaphysical implications of "unique, personal style. " Godard seeks to strip the cinema...
...cultural oppression, as he explains in Wind From the East ) based on a more "convincing" and "realistic" image with more spatial and dramatic ambiguity. Orson Welles first developed the new realism in Citizen Kane -its elements of symbolism, multi-level causality, mystery, and am biguity (tragedy, too)-and Andre Bazin glorified it in criticism, developing a metaphysical formalism that invests the most innocent pan or track with human Significance. Auteurist critics go even further in this direction in order to justify selected Hollywood directors with extrapolated Meaning and with metaphysical implications of each "unique, personal style." Godard seeks to strip...
...order to solve the problem of didactic clarity-the effectiveness of the work in being correctly interpreted-Sontag simply denounces the interpretation of art as well as works of art which necessitate it. Bazin's doctrine of metaphysical suggestion in portraying "content" is a dead end, then, for radical formalism. Form itself must become the subject, the "content," continually renewing itself in order to transform outmoded consciousness. Duet for Cannibals attempts this, by taking up outmoded conventions and destroying them, each in turn. In "Against Interpretation" (1964) Sontag makes a case for interpreting interpretation (at this time in history...