By Dudley Andrew
André Bazin, usually dubbed the daddy of the French New Wave, has had an incredible impression on movie artwork. he's credited with nearly single-handedly setting up the learn of movie as an authorised highbrow pursuit. The magazine that he based in 1951, Cahiers du Cinéma, is still the main influential archive of cinema feedback. He is still probably the most learn, such a lot studied, and most attractive figures ever to have written approximately movie. the previous couple of years have witnessed a huge resurgence of curiosity in Bazin between critics, students, and scholars of each persuasion. His writings, a mainstay of movie concept classes, are actually discovering a spot at the syllabi of center classes in movie background, feedback, and appreciation. Andrew's highbrow biography is a landmark in movie scholarship.
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Extra info for André Bazin (Revised Edition)
21 Once again the problem of “phasure” returns. By 1974 the French passion for militant cinema had begun to cool, just as it was emerging in England’s journal Screen, read by all serious American film students. A genuine school of thought formed around Ben Brewster, Stephen Heath, Christopher Williams, and Colin MacCabe, proclaiming the constructed (hence, negotiable) nature not just of films, but also of technology and even of perception, the zone Bazin had held pristine. 22 Bazin’s image theory, anchored in outdated Sartrean principles, emphasizes ambiguity, freedom, and a future opening onto the world through the screen.
Later, when he was sent south for his health, Bazin called for his son, his dog, and his cat. Still lonely, he asked Janine to send the crocodile. She refused. It was bigger than ever and possessed a dangerously fickle disposition. ” When the family and pets returned from the south, Bazin agreed that it was better for all if the croc stayed put. As the story goes, it was indeed better for the Bazins and their pets, better too for the crocodile, who had more space to slither, but it was anything but better for the other reptiles at that museum.
Bazin, who was always somewhat scornful of the foppish nature of this type of education, was sent down the workingman’s educational track, beginning with public high school. There, scientific and technical training was offered instead of the classical Greek and Latin of the lycées. The very top public school students went on to the École Normale Supérieure at St. Cloud, and it was to this school that Bazin aspired when, with great apprehension, he entered the high school of Courbevoie. He had reason to fear; not only was this a Parisian school, but it was secular as well and considered far more competitive than the Christian Brothers’s school.
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