André Bazin, the Critic as Thinker: American Cinema from by R. J. Cardullo

By R. J. Cardullo

André Bazin (1918–58) is credited with nearly single-handedly setting up the examine of movie as an authorized highbrow pursuit, in addition to with being the religious father of the French New Wave. between those that got here less than his tutelage have been 4 who could cross directly to turn into the main well known administrators of the postwar French cinema: François Truffaut, Jean-Luc Godard, Jacques Rivette, and Claude Chabrol. Bazin is additionally thought of the primary instigator of the both influential auteur conception: the concept, on the grounds that movie is an artwork shape, the director of a film has to be perceived because the leader writer of its designated cinematic style.

André Bazin, the Critic as philosopher: American Cinema from Early Chaplin to the overdue 1950s includes, for the 1st time in English in a single quantity, a lot if no longer all of Bazin’s writings on American cinema: on administrators reminiscent of Orson Welles, Charles Chaplin, Preston Sturges, Alfred Hitchcock, Howard Hawks, John Huston, Nicholas Ray, Erich von Stroheim, and Elia Kazan; and on motion pictures resembling High Noon, Citizen Kane, Rear Window, Limelight, Scarface, Niagara, The purple Badge of Courage, Greed, and Sullivan’s Travels.

André Bazin, the Critic as philosopher: American Cinema from Early Chaplin to the overdue 1950s additionally includes a widespread scholarly equipment, together with a contextual advent to Bazin’s lifestyles and paintings, an entire bibliography of Bazin’s writings on American cinema, and credit of the flicks mentioned. This quantity therefore represents an immense contribution to the nonetheless starting to be educational self-discipline of cinema stories, in addition to a testomony to the continued effect of 1 of the world’s pre-eminent severe thinkers.

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It is with an eye on the style of the narrative, rather than on the subjective attitude of the director toward the genre, that I will finally choose my epithet. ” By this I mean that without departing from the traditional themes of the western, they enrich those themes from within through the originality of their characters, their psychological flavor, and an engaging individuality on each character’s part, which is what we expect from the hero of a novel. Clearly, when one talks about the psychological richness of Stagecoach, one is talking about the way psychology is used and not about any particular character.

In the course of fifteen years, the American comedy, for its part, has exhausted its resources. If it survives in an occasional success, this is only to the extent that, in some way, it abandons the rules that before the World War II made for successful comedy. From Underworld [Josef von Sternberg, 1927] to Scarface [Howard Hawks, 1932], the gangster film had already completed the cycle of its own growth. The scenarios of detective stories themselves have developed rapidly, and if it is still possible to rediscover an aesthetic of violence within the framework of the criminal adventure that they share with Scarface, we would nonetheless be hard put to see in the private eye, the journalist, or the G-man a reflection of the original hero.

This, alas, was the only appeal of his Strategic Air Command [1955]. ) There is less and less action in Mann’s westerns, and he seems to have set himself the ideal goal of making a film where the hero has nothing more to do than ride a horse for 120 minutes. As evidence, I shall give you the following outraged commentary by Jack Moffitt in the Hollywood Reporter on the most recent Mann western, which has just come out in America: “The only emotion inspired by The Last Frontier [1955] is one of pity for the actors … Instead of looking for new faces the film industry would do better to look for new brains.

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