In “The Evolution of the Language of Cinema” Bazin speaks o: the image as being evaluated not according to what it adds t< reality but what it reveals of it. "The Evolution of the Language of Cinema". Andre Bazin. Jean Renoir; Precursor to Welles, understood the importance of depth; Orson Welles. Film critic Andre Bazin had very strong feelings on the subject of montage and realism. In his article “The Evolution of the Language of Cinema”, he explains his .
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It would lie outside the scope of this article to analyze the psychological modalities of these relations, as also their aesthetic consequences, but it might be enough here to note, in general terms: Clare Rayner added it Jun 08, From the Inquiries Journal Blog.
Brilliant Schemer, Entertaining Villain. The German and Soviet cinemas were certainly not the only important schools at the time, and one could hardly claim that in France, Sweden or America, film language lacked the means to say what it had to say.
Let us sum up. There are no discussion topics on this book yet. They are just one type of evolktion, among others, of his style. Those categories of resemblance which determine the species fvolution image likewise, then, determine the character of evolktion aesthetic as distinct from that of painting. It would obviously be absurd to deny that montage has added considerably to the progress of film language, but this has happened at the cost eovlution other values, no less definitely cinematic.
Clearly the fascinating objectivity of Chardin is in no sense that of the photographer. The analysis is rendered imperceptible by its logicality.
A series of close-ups of the food. Besides, painting is, after all, an inferior way of making like- nesses, an ersatz of the processes of reproduction. Sound could have played only a subordinate and complementary role, as a counterpoint to the visual image. A Case Study on Film Authorship: Langjage, photography actually contributes something to the order of natural creation instead of providing a substitute evoolution it.
It is above all in the direction taken by Stroheim and Murnau, almost entirely neglected in the s, that the cinema has been veering more or less consciously in the last ten years. Rossellini is concerned to preserve its mystery. What we are saying then is that the sequence of shots “in depth” f the contemporary director does not exclude the use of montage. In the theater the direction of this evolution is languate evident still.
The Evolution of the Language of Cinema
Alexandre Dumas and Victor Hugo simply serve to supply the film-maker with characters and adventures largely independent of their literary framework. As for the real savants such as Lanhuage, they were only of indirect assistance to the cinema. We would undoubtedly find scattered among the works of others elements of nonexpressionistic cinema in which montage plays no part — even including Bqzin, 27 But these examples suffice to reveal, at the very heart of the silent film, a cinematographic art cine,a very opposite of that which has been identified as “cinema par excellence,” a language the semantic and syntactical unit of which is in no sense the Shot; in which the image is evaluated not cineja to what it adds to reality but what it reveals of it.
By the end of the silent era, one can consider this arsenal to have been complete. No one felt any call to defend them except the interested parties who had more knowledge of their trade than they had of filmological preconceptions.
Depth of focus brings the spectator into a relation with the image closer to that which he enjoys with reality.
The Evolution of Film Language – André Bazin
The substance of the narrative, whatever the realism of the individual 25 What Is Ghe And anyway it is certainly not every day that one sees someone play the piano with hooks! Although the final result may reflect some- thing of his personality, this does not play the same role as is played by that of the painter.
He claims that the introduction of sound, far from destroying film as an art form, actually enhanced it as an essential element of reality. One can imagine that in it would have been edited as follows: It had to be both counterbalanced and reinforced.
An Analysis of Film Critic Andre Bazin’s Views on Expressionism and Realism in Film
Due to filmmakers focusing on violence, traumatic events, and hallucinations when depicting characters with schizophrenia, critics have scrutinized the representation of mental disorders in contemporary films for years. This scene makes no pretense of realistic space and gains much of its intensity from the panguage of suggestive montage. Bythe art of the silent film was at thf height. Murnau, Robert Flaherty, and Dreyer, it is for a purpose.
The means used by Rossellini and de Sica are less spectacular but they are no less determined to do away with montage and to transfer to the screen the continuum of reality.
Summary of “The Evolution of the Language of Cinema” – Screened
Caligari was suddenly flooded with sound, its delicate visual poetry would have been destroyed by the harsh invasion of reality. One needs only to compare two stills which are composed in depth, one from a film ofthe other from a film by Welles or Wyler, and one will see just from looking at each still, detached from the film, that their functions are diametrically opposed. The only actor whose face we want to see in close-up is precisely the one whom we cannot distinguish clearly because he is so far away from the camera and behind the glass window of the call box.
Did those same learned historians who know everything there is to be known about farce in the sixteenth century ever make it their business to find out what a resurgence of vitality it had between and at the Pathe and Gaumont Studios and under the baton of Mack Sennett?
Once editing and visual composition cease to be considered as the very essence of film language, it can be seen that the arrival of sound was not an aesthetic watershed dividing two radically different aspects of the medium.
The cinema was born from the converging of these various obsessions, that is to say, out of a myth, the myth of total cinema. And how can it be otherwise when this work derives from a form of literature so highly developed that the heroes and the meaning of their actions depend very closely on the style of the author, when they are intimately wrapped up with it as in a microcosm, the laws of which, in themselves rigorously determined, have no validity outside that world, when the novel has renounced its epic-like sim- plicity so that it is no longer a matrix of myths but rather a locus of subtle interactions between style, psychology, morals, or meta- physics.
It is true that the arrival of sound proved fatal to a certain aesthetic approach to film language, but this was an approach that was leading it farthest away from its vocation for realism.
Blerta Basholli rated it it was amazing Nov 14, This is why we are witnessing the almost complete disappearance of special visual effects, such as superimposition, and even, especially in America, the close-up, which has such a violent physical effect that it makes one aware the director has cut from one shot to another.
But Wyler knew very well that alone it would destroy the spatial and temporal equilibrium of the shot. But it is precisely on this reality that a dialectic belonging to the realm of the imaginary, and interestingly symbolized by the use of doubles for Crin Blanc, is founded.
Free to shoot in the studio with a much smaller aperture, the operator could, when necessary, eliminate the soft-focus background once considered essential. Up to this point everything has been shown in parallel montage and the somewhat naive attempt at suspense has seemed quite conventional. Open Preview See a Problem?
As for the automatons of the eighteenth century their relation to cinema is like the relation of painting to photography. It is not that Welles denies himself any recourse whatsoever to the expressionistic procedures of montage, but just that their use from time to time in between one-shot sequences in depth gives them a new meaning.