Andre Bazin's Evolution of the Language of Cinema
TLDRThis lecture delves into André Bazin's realist aesthetics and style, focusing on his seminal essays from 'What is Cinema' volumes. Highlighting essays like 'The Ontology of the Photographic Image' and 'The Evolution of the Language of Cinema', the talk explores Bazin's dual approach to film theory: the essence of the photographic medium versus its historical evolution and stylistic changes. The discussion contrasts ontological realism with aesthetic realism, emphasizing Bazin's flexible stance towards film's realism, influenced by technological advances like synchronized sound. Through a historical overview from the 1920s to the 1940s, Bazin's preference for realist films that employ deep focus and long takes, exemplified by works of Orson Welles and Italian Neorealism, is underscored.
Takeaways
- 😃 Bazin was interested in both the ontology of photography and the stylistic choices that lead to cinematic realism.
- 🤔 Bazin critiqued the idea that adding something to reality inherently makes a film more artistic.
- 🧐 Bazin saw two main trends in 1920s silent cinema: montage/plastic expressionism and realism.
- 💡 Bazin argued that synchronized sound restricted the flexibility of images and montage.
- 🎥 Bazin highlighted Jean Renoir's films in the 1930s as upholding a strong realist aesthetic.
- 🎞 Bazin championed deep focus, long takes in Orson Welles and William Wyler's 1940s films.
- 🎬 Bazin praised Italian neorealism for its realist cinematography and subject matter.
- 👁🗨 Bazin argued that realism is about more than just showing reality, but showing it in a way that recreates natural perception.
- 🔍 Bazin examined the evolution of cinematic language and realist film style over time.
- 📽 Bazin saw realism as an aesthetic achievement, not merely a matter of ethics.
Q & A
What are the two main opposing trends Bazin identifies in cinema between 1920-1940?
-Bazin distinguishes between directors who put their faith in the image and those who put their faith in reality. By 'image' he means everything the representation on screen adds to the object depicted.
What does Bazin mean when he talks about 'faith in the image' versus 'faith in reality'?
- 'Faith in the image' refers to films where the emphasis is on formal techniques that manipulate or enhance reality - things like montage, expressionistic visuals, fantasy elements. 'Faith in reality' refers to films that aim for a documentary-style realism.
What are some examples Bazin gives of 'faith in the image' filmmakers?
-Examples Bazin gives include Eisenstein (montage), Robert Wiene (The Cabinet of Dr. Caligari - German expressionism), F.W. Murnau (Taboo - plastic manipulation).
What are some examples Bazin gives of 'faith in reality' filmmakers?
-Examples include Robert Flaherty (documentaries like Nanook of the North), Erich von Stroheim (Greed), Jean Renoir (rules of realism in later 1930s films that influence 1940s deep focus style).
How does Bazin argue that the advent of sound changed film style?
-Bazin argues that synchronized sound made montage and plastic expressionism less flexible. It carried editing more toward realism by increasingly eliminating those stylistic approaches.
What does Bazin see as the dominant 1930s editing style, and how does he say Jean Renoir challenged it?
-He sees continuity editing becoming dominant. He credits Renoir with challenging this approach by pioneering the deep focus, long take style Bazin favors, which later influenced Welles and Wyler.
What are some key films Bazin highlights from the 1940s representing his preferred realist aesthetic?
-Key films include Citizen Kane, The Best Years of Our Lives (both using deep focus cinematography), and Italian neorealist films like Bicycle Thieves and Umberto D.
What is an example Bazin gives of how formal choices impact perceived realism?
-Bazin gives the example of how a dead child shown in close-up is not the same as one shown in a medium shot or in color. Formal choices change the viewer's perception.
Why does Bazin argue that simply showing reality is not enough for cinematic realism?
-Bazin says that just showing reality only satisfies an ethical intention toward truth, not the aesthetic problem of how reality is represented. Choices of shot, editing etc. affect the impression of realism.
How does Bazin qualify his own criteria for achieving realism through formal techniques?
-At the same time as Bazin prescribes things like deep focus and long takes, he says realism is about finding equivalents or approximations of our natural perception. He resists overly strict or limited criteria.
Outlines
😃 Introducing Bazin's shift from ontological to aesthetic realism
The instructor introduces a shift in Bazin's thinking - from making ontological claims about the relationship between objects and their photographic reproduction to investigating cinematic style and realism. A key passage shows Bazin acknowledging that formal choices like framing and color affect our perception of realism.
😲 Bazin qualifies his criteria for achieving realism
Bazin states that realism consists of showing things under conditions recreating natural perception. But he then pulls back and says it's about seeking equivalents for those conditions. His refusal to pin down firm criteria shows his view of realism is expansive.
🎥 Tracing stylistic trends in silent and early sound eras
Bazin gives a selective history of trends in 1920s silent films, distinguishing between "faith in the image" directors like Eisenstein (montage) and "faith in reality" ones like Flaherty (documentary). He argues early sound cinema reduced those tendencies towards a middle ground.
🎞 Bazin champions 1940s deep focus films
With his historical background established, Bazin focuses on his main interest - 1940s sound films by Welles and Wyler exhibiting deep focus, long takes and realism. He positions these as an aesthetic achievement compared to conventional editing.
Mindmap
Keywords
💡realism
💡deep focus
💡long take
💡montage
💡synchronized sound
💡plastic expressionism
💡classical continuity
💡shot in depth
💡faith in the image
💡faith in reality
Highlights
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Transcripts
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