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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Potoniee has even felt justified in maintaining that it was not the discovery of photogra- phy but of stereoscopy, which came onto the market just slightly before the first attempts at animated photography inthat opened the eyes of the researchers. From toa certain kinship of expression in the cinema grew up throughout the world, originating in particular from America. When it was over, one never said, ‘how wrong I was,’ only ‘how right he is! He was thus appointed to a school at last.

Men will try to imagine a screen, with horses galloping across it, a close-up of a beautiful star, or the rolling eye of a dying hero, and each will interpret these things in his own way. It is this logic which conceals the fact of the analysis, the mind of the spec- tator quite naturally accepting the viewpoints of the director which are justified by the geography of the action or the shifting emphasis of dramatic interest.

This admirable editing device was unthinkable after The camera cannot see everything at once but it makes sure not to lose any part of what it chooses to see. 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. The little boy that Lamorisse chose had never been near a horse, yet he had to be taught to ride bareback. Thus, in Tabuthe entry of a ship onto the left of the screen makes the spectator see it as a metaphor of fate, without Murnau in any way distorting the strict realism of the film, shot entirely on location.


Between them, director and cameraman have converted the screen into a dramatic checkerboard, planned down to the last detail.

Summary of “The Evolution of the Language of Cinema” – Screened

A abdre for the photographic document developed only gradually. But Citizen Kane fits into a lanfuage movement, into a vast geological shift of strata which, in one way and another, confirms this revolution in expression. But they will all agree on one thing, namely, the high quality of What is Cinema?

Why read this essay? The system followed by critics before him was, usually, to start with a definition of art and then to try and see how film fitted into it. What ordinarily extends through one or two civilizations is here contained within the life span of a single man.

This is more or less the part it plays in Griffith’s films, for example in Broken Blossoms, because with Intolerance he had already intro- duced that synthetic concept of montage which the Soviet cinema was to carry to its ultimate conclusion and which is to be found again, although less exclusively, at the end of the silent era.

Bazin’s thought, while rooted in a bxzin cultural tradition, produces conclusions that at times are forcefully expressed in terms drawn from contemporary science — an ambiva- lence which contributes markedly to his style and as markedly to the problems of a translator.

It seems to us that the decade from to marks a de- cisive step forward in die development of the language of the film. This story, the evoluhion of which was a complete mystery to the audience, held its attention and carried it along purely and simply by the tension created in the telling.

Scenes were broken down just for one purpose, namely, to analyze an episode according to the material or dramatic logic of the scene.

The Evolution of the Language of Cinema

They are just one type of figure, among others, of his style. But the neutral languagw of this “invisible” editing fails to make use of the full potential of montage.


Seen in this sociological perspective photography and cinema would provide a natural explanation for the great spiritual and technical crisis that overtook modern painting around the middle of the last century. Exaggerations and Stereotypes of Schizophrenia in Contemporary Films.

The Evolution of Film Language – André Bazin

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: Undoubtedly there are other examples in the history of techniques and inventions of the convergence of research, but one must distinguish between those which come as a result precisely of scientific evolution and industrial or military requirements and those which quite clearly precede them.

In any case, there was not a single inventor who did not try to combine sound and relief with anima- tion of the image — whether it be Edison with his kinetoscope made to be attached to a phonograph, or Demenay and his talking por- traits, or even Nadar who shortly before producing the first photo- graphic interview, on Chevreul, had written, “My dream is to see the photograph register the bodily movements and the facial ex- pressions of a speaker while the phonograph is recording his speech” February, But pyramids and labyrinthine corridors offered no certain guarantee against ulti- mate pillage.

The narrative is again becoming capable of reintegrating the temporal truth of things, the actual duration of an event which the classical narrative insidiously replaced with intellectual and abstract time.

Murnau, and Robert Flaherty, have by implication cast a doubt. The same is true of the animation films of Walt Disney. Consequently, composition in depth demands a more active mental attitude on the part of spectators and even a positive contribution to the direction.

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