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Andre Bazin's What Is Cinema? (volumes I and II) have been classics
of film studies for as long as they've been available and are
considered the gold standard in the field of film criticism.
Although Bazin made no films, his name has been one of the most
important in French cinema since World War II. He was co-founder of
the influential Cahiers du Cinema, which under his leadership
became one of the world's most distinguished publications.
Championing the films of Jean Renoir (who contributed a short
foreword to Volume I), Orson Welles, and Roberto Rossellini, he
became the protege of Francois Truffaut, who honors him touchingly
in his forword to Volume II. This new edition includes graceful
forewords to each volume by Bazin scholar and biographer Dudley
Andrew, who reconsiders Bazin and his place in contemporary film
study. The essays themselves are erudite but always accessible,
intellectual, and stimulating. As Renoir puts it, the essays of
Bazin "will survive even if the cinema does not."
Andre Bazin's writings on cinema are among the most influential
reflections on the medium ever written. Even so, his critical
interests ranged widely and encompassed the new media" of the
1950s, including television, 3D film, Cinerama, and CinemaScope.
Fifty-seven of his reviews and essays addressing these new
technologies their artistic potential, social influence, and
relationship to existing art forms have been translated here for
the first time in English with notes and an introduction by leading
Bazin authority Dudley Andrew. These essays show Bazin's astute
approach to a range of visual media and the relevance of his
critical thought to our own era of new media. An exciting companion
to the essential What Is Cinema? volumes, Andre Bazin's New Media
is excellent for classroom use and vital for anyone interested in
the history of media.
Andre Bazin's "What Is Cinema?" (volumes I and II) have been
classics of film studies for as long as they've been available and
are considered the gold standard in the field of film criticism.
Although Bazin made no films, his name has been one of the most
important in French cinema since World War II. He was co-founder of
the influential "Cahiers du Cinema, "which under his leadership
became one of the world's most distinguished publications.
Championing the films of Jean Renoir (who contributed a short
foreword to Volume I), Orson Welles, and Roberto Rossellini, he
became the protege of Francois Truffaut, who honors him touchingly
in his forword to Volume II. This new edition includes graceful
forewords to each volume by Bazin scholar and biographer Dudley
Andrew, who reconsiders Bazin and his place in contemporary film
study. The essays themselves are erudite but always accessible,
intellectual, and stimulating. As Renoir puts it, the essays of
Bazin "will survive even if the cinema does not."
Adaptation was central to Andre Bazin's lifelong query: What is
cinema? Placing films alongside literature allowed him to identify
the aesthetic and sociological distinctiveness of each medium. More
importantly, it helped him wage his campaign for a modern
conception of cinema, one that owed a great deal to developments in
the novel. The critical genius of one of the greatest film and
cultural critics of the twentieth century is on full display in
this collection, in which readers are introduced to Bazin's
foundational concepts of the relationship between film and literary
adaptation. Expertly curated and with an introduction by celebrated
film scholar Dudley Andrew, the book begins with a selection of
essays that show Bazin's film theory in action, followed by reviews
of films adapted from renowned novels of the day (Conrad,
Hemingway, Steinbeck, Colette, Sagan, Duras, and others) as well as
classic novels of the nineteenth century (Bronte, Melville,
Tolstoy, Balzac, Hugo, Zola, Stendhal, and more). As a bonus, two
hundred and fifty years of French fiction are put into play as
Bazin assesses adaptation after adaptation to determine what is at
stake for culture, for literature, and especially for cinema. This
volume will be an indispensable resource for anyone interested in
literary adaptation, authorship, classical film theory, French film
history, and Andre Bazin's criticism.
This classic in the literature of cinema represents the convergence
of the three leading figures of French film: Jean Renoir,
universally considered the greatest French director Andre Bazin,
the outstanding French film critic and theorist and Francois
Truffaut, the pioneer of la nouvelle vague. Bazin left this
examination of Renoir's films unfinished when he died in 1958
Truffaut collected and edited the essays, and added a comprehensive
filmography in which Bazin, Truffaut, Jacques Rivette, Jean-Luc
Godard, Eric Rohmer, and other Cahiers du Cinema regulars comment
on the films. Here are brilliant insights into the whole of
Renoir's oeuvre, from the avant-garde fantasy of La Petite
Marchande d'Allumettes, through the epic humanism of Grand Illusion
and The Rules of the Game, to the quiet grace of The River and the
profound theatricality of The Golden Coach. Bazin shows why Renoir
is the critical figure in the development of cinema since the
silent era, and how he went beyond montage to give the art new
expressive potential. Renoir's work constitutes one of the most
fully and beautifully elabourated visions in contemporary art, and
nowhere is this humanistic vision better illuminated than in this
book.
Adaptation was central to Andre Bazin's lifelong query: What is
cinema? Placing films alongside literature allowed him to identify
the aesthetic and sociological distinctiveness of each medium. More
importantly, it helped him wage his campaign for a modern
conception of cinema, one that owed a great deal to developments in
the novel. The critical genius of one of the greatest film and
cultural critics of the twentieth century is on full display in
this collection, in which readers are introduced to Bazin's
foundational concepts of the relationship between film and literary
adaptation. Expertly curated and with an introduction by celebrated
film scholar Dudley Andrew, the book begins with a selection of
essays that show Bazin's film theory in action, followed by reviews
of films adapted from renowned novels of the day (Conrad,
Hemingway, Steinbeck, Colette, Sagan, Duras, and others) as well as
classic novels of the nineteenth century (Bronte, Melville,
Tolstoy, Balzac, Hugo, Zola, Stendhal, and more). As a bonus, two
hundred and fifty years of French fiction are put into play as
Bazin assesses adaptation after adaptation to determine what is at
stake for culture, for literature, and especially for cinema. This
volume will be an indispensable resource for anyone interested in
literary adaptation, authorship, classical film theory, French film
history, and Andre Bazin's criticism.
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