Following its acclaimed edition of selections from André Bazin’s What is Cinema?, caboose is pleased to present a greatly expanded collection of articles by France’s foremost film critic and theorist. André Bazin: Selected Writings 1943-1958 doubles the number of articles found in the earlier volume to twenty-six, making this the most comprehensive collection in English of a broad range of Bazin’s writings throughout his entire career, with extensive annotations and corrections.
The texts included here are all offered in their original version, as they were written, published and discussed in Bazin’s day in post-war Francebefore Bazin and in some cases his posthumous editors revised and abridged them for republication. In most cases this is the first time these articles have been republished in their original form in any language, including French. Readers will discover the essay “Découpage,” the basis of Bazin’s most famous text and the most widely-read article in cinema studies, “The Evolution of Film Language.”
The volume includes brilliant essays on major filmmakers of the classical film period, including Renoir, Welles, Chaplin, Bresson, Malraux and Wyler; essays on film and the other arts; the famous essay on Italian neo-realism; essays on documentary and science film; comedy; film language; film history; and the 'politique des auteurs’ and the role of the critic. The volume’s new translations of these texts re-assert Bazin’s status as the pre-eminent film critic and theorist of all time. Each essay is extensively annotated by Timothy Barnard, situating the man and his work in the cultural and social climate of post-war France.
Published by caboose books, Montreal. Distributed worldwide, excluding Canada, by Rutgers University Press.
|Edition description:||First Edition|
|Product dimensions:||6.00(w) x 9.00(h) x (d)|
|Age Range:||18 Years|
About the Author
ANDRÉ BAZIN (1918-1958) is one of the most influential critics ever to have written about cinema. He contributed daily reviews to Paris’s largest-circulation newspaper, Le Parisien libéré, and wrote hundreds of essays for weeklies (Le nouvel observateur, Télérama) and such esteemed monthly journals as Esprit and Cahiers du cinéma (which he cofounded). A social activist, he directed cine-clubs and, from 1945 to 1950, worked for the Communist outreach organization Travail et Culture.
TIMOTHY BARNARD is a professional translator with a prominent background in film history and theory. He is the publisher of caboose books in Montreal, Quebec, Canada.
Read an Excerpt
When Eadweard Muybridge and Étienne-Jules Marey made the first science films, they not only invented film technology, they created at the same time cinema’s purest aesthetic. This is the miracle of the science film and its inexhaustible paradox. Here, at the furthest reaches of interested and practical research, where the most absolute proscription of aesthetic intention as such reigns, cinematic beauty unfolds like a supernatural grace. Could any cinema of the imagination have conceived and depicted the bronchoscope’s fabulous descent into the underworld of bronchial tumours, where all the laws of the dramatisation of colour are naturally present in the sinister bluish hue of a visibly fatal cancer? Could any trick effect have created the fairy ballet of the freshwater animalcules which, under the microscope, miraculously arrange themselves like a kaleidoscope? Is there a brilliant choreographer, a delirious painter, a poet who could imagine these patterns, these shapes, these images? The camera alone holds the key to this world, whose supreme beauty is that of nature and chancein other words, everything that a certain aesthetic tradition views as the opposite of art. Only the Surrealists had a presentiment of its existence; in the almost impersonal automatism of their imagination, they sought the secret of an image factory. But Yves Tanguy, Salvador Dalí and Luis Buñuel would remain at a remove from the surrealist drama in which the late Dr de Martel, in order to carry out a complicated trepanning, began by sketching and hollowing out a face on the nape of a neck that had been shaved as bare as an egg. Whoever has not seen this does not know how far cinema can go. André Bazin, “The Science Film: Chance Beauty”, 1947
Table of Contents
Contents This Is Not a Theorist: Notes on André Bazin -- Jacques Aumont A Note on the Texts -- Timothy Barnard . 1943 For a Realist Aesthetic . 1944 On Realism . 1945 Ontology of the Photographic Image Espoir: On Style in the Cinema . 1946 The Myth of Total Cinema and the Origins of the Cinématographe . 1947 The Technique of Citizen Kane The Science Film: Chance Beauty . 1948 Cinematic Realism and the Italian School of the Liberation William Wyler, the Jansenist of Mise en scène Orson Welles’ Contribution Landru—Charlie—Monsieur Verdoux . 1949 Cinema and Painting . 1951 Depth of Field, Once and for All Diary of a Country Priest and Robert Bresson’s Stylistic System Theatre and Film (1) Theatre and Film (2) Death Every Afternoon . 1952 French Renoir Découpage For an Impure Cinema: In Defence of Adaptation . 1953 The Real and the Imaginary No Script for Monsieur Hulot . 1956 A Bergsonian Film: The Picasso Mystery Assembly Prohibited . 1957 On the ‘Politique des auteurs’ . 1958 Thoughts on Film Criticism Glossary of Terms 1. General Terms 2. Découpage 3. Montage 4. Fait Acknowledgements Name index Title index