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Andre Bazin: Selected Writings 1943-1958

Andre Bazin: Selected Writings 1943-1958

Hardcover(First Edition)

Available for Pre-Order. This item will be available on April 1, 2019

Product Details

ISBN-13: 9781927852057
Publisher: Caboose
Publication date: 04/01/2019
Edition description: First Edition
Pages: 503
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 chance—in 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


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

Name index
Title index