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Read e-book online André Bazin (Revised Edition) PDF

By Dudley Andrew

André Bazin, frequently dubbed the daddy of the French New Wave, has had a major influence on movie paintings. he's credited with virtually single-handedly constructing the learn of movie as an authorised highbrow pursuit. The magazine that he based in 1951, Cahiers du Cinéma, is still the main influential archive of cinema feedback. He is still probably the most learn, so much studied, and most attractive figures ever to have written approximately movie. the previous couple of years have witnessed a huge resurgence of curiosity in Bazin between critics, students, and scholars of each persuasion. His writings, a mainstay of movie conception classes, at the moment are discovering a spot at the syllabi of center 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)

Example text

Such a stipend enabled him to live near Paris; and even then he knew that only in Paris could his growing interest in the arts and culture develop. At St. Cloud he pursued what was at that time called a “modern” education, in contrast to the classical learning offered by its counterpart 11 ANDRÉ BAZIN At the head of his class on rue d’Ulm in the Latin Quarter. Here, Bazin received his final formal training in the sciences, and he began his advanced study of literature, the arts, and philosophy, enrolled as he was in the division of Letters.

What Is Cinema? provoked us to examine intensely both individual films and the cinema in toto. Yet Cahiers no longer looked like the journal Bazin had founded. For fifteen years, from 1968 to 1983, Bazin became a bad object in France, and slowly by contagion in England and the United States. By the time my biography appeared in 1978, colleagues wondered why I had spent time on such a regressive thinker, completely out of fashion. I should have been prepared for Bazin’s disappearance, because there were indications of a backlash that I hadn’t paid attention to.

The animals, rocks, and plants that surrounded Bazin gave him a kind of primitive strength and inspiration. He loathed overplanned environments, be they model apartments or exhibitions of art. Not that he advocated chaos: he sought the fortuitous, that provisory organization of the environment retaining the possibility of other organizations and harboring surprises and discoveries yet to be made. It was this quality that he was to praise so lavishly in neorealist films and to which as a critic he was so extraordinarily attuned.

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