By Andre Bazin, Bert Cardullo
Bazin's influence on movie paintings, 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 setting up the examine of movie as an authorised highbrow pursuit, in addition to with being the non secular father of the French New Wave. Bazin at Work is the 1st English number of disparate Bazin writings because the visual appeal of the second one quantity of What Is Cinema? in 1971. It contains paintings from Cahiers le cinema (which he based and that's the main influential unmarried severe periodical within the historical past of the cinema) and Esprit. He addresses filmmakers together with Rossellini, Eisenstein, Pagnol, and Capra and famous movies together with La Strada, Citizen Kane, Scarface, and The Bridge at the River Kwai.
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Additional info for Bazin at Work: Major Essays and Reviews From the Forties and Fifties
The space filled by the individual actor, already cut off and limited by the frame of the screen, was additionally robbed by Wyler of significance in and of itself, so that the entire dramatic spectrum polarized by the actors would attract the focus. Almost all Wyler’s shots are built like an equation, or perhaps better, like a dramatic mechanism whose parallel ogram of forces can almost be drawn in geometrical lines. This may not be an original discovery on my part: to be sure, every true director orga nizes the movement of his actors within the coordinates of the screen according to laws that are still obscure but whose spontaneous perception is part of his talent.
Let us recall here that contemporary films have an average of 300 to 400 shots per hour, in other words, more or less double that of this film. Let us remember in addition that Antoine and Antoinette (1947, dir. Jacques Becker), which undoubtedly represents the absolute opposite in technique from Wyler’s film, has some 1,200 shots for one hour and 50 minutes of projection time. Shots of more than two minutes in duration are not infrequent in The Best Years o f Our Lives, without even the slightest reframing to compensate for their stasis.
The evolution of the art of film is often seen as having proceeded along two distinctive lines that eventually merged into one: the tradition of reality, originating in the films of Lumiere, and the tradition of fantasy, originating in the films of Georges Melies (1861-1938). 8. Bazin’s note: I say “tends” because it is nevertheless possible to use this technique in such a way that it compensates for the psychological mutilation implied in its princi ple. Hitchcock, for instance, excels in suggesting the ambiguity of an event while decomposing it into a series of close-ups.
Bazin at Work: Major Essays and Reviews From the Forties and Fifties by Andre Bazin, Bert Cardullo