Difference between revisions of "JCM312/Bazinian Realism (Discussion)"
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Bazin sees "two broad and opposing trends in the cinema between 1920 and 1940: those directors who put their faith in the image and those who put their faith in reality." What does Bazin mean by faith in reality? Can you think of modern directors who fall into this category? | Bazin sees "two broad and opposing trends in the cinema between 1920 and 1940: those directors who put their faith in the image and those who put their faith in reality." What does Bazin mean by faith in reality? Can you think of modern directors who fall into this category? | ||
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Bazin sees "two broad and opposing trends in the cinema between 1920 and 1940: those directors who put their faith in the image and those who put their faith in reality." Bazin says the "faith in image" directors can be "traced back to two factors." What are they? How does a Russian film movement exemplify one of these factors? | Bazin sees "two broad and opposing trends in the cinema between 1920 and 1940: those directors who put their faith in the image and those who put their faith in reality." Bazin says the "faith in image" directors can be "traced back to two factors." What are they? How does a Russian film movement exemplify one of these factors? | ||
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Bazin contends that "analytic" or "dramatic" editing (i.e., "shooting script") was "strongly challenged by the technique of composition in depth used by Orson Welles and William Wyler." What is composition in depth? What are some examples from Welles's, Wyler's and/or Renoir's work? How does composition in depth "demand a more active mental attitude" and "bring ambiguity back into the structure of the image"? | Bazin contends that "analytic" or "dramatic" editing (i.e., "shooting script") was "strongly challenged by the technique of composition in depth used by Orson Welles and William Wyler." What is composition in depth? What are some examples from Welles's, Wyler's and/or Renoir's work? How does composition in depth "demand a more active mental attitude" and "bring ambiguity back into the structure of the image"? | ||
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http://www.tcf.ua.edu/Classes/Jbutler/T340/Bazin02.htm | http://www.tcf.ua.edu/Classes/Jbutler/T340/Bazin02.htm | ||
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Bazin maintains that the camera movement when Batala is murdered at the end of ''The Crime of M. Lange'' "is the pure spatial expression of the entire mise-en-scene". What do you think Bazin means by this? How is he using the term "mise-en-scene" (is it the same as in ''Film Art''?)? | Bazin maintains that the camera movement when Batala is murdered at the end of ''The Crime of M. Lange'' "is the pure spatial expression of the entire mise-en-scene". What do you think Bazin means by this? How is he using the term "mise-en-scene" (is it the same as in ''Film Art''?)? | ||
Revision as of 13:05, 28 September 2010
Group 3
Bazin sees "two broad and opposing trends in the cinema between 1920 and 1940: those directors who put their faith in the image and those who put their faith in reality." What does Bazin mean by faith in reality? Can you think of modern directors who fall into this category?
Group 1
Bazin sees "two broad and opposing trends in the cinema between 1920 and 1940: those directors who put their faith in the image and those who put their faith in reality." Bazin says the "faith in image" directors can be "traced back to two factors." What are they? How does a Russian film movement exemplify one of these factors?
Group 2
Bazin contends that "analytic" or "dramatic" editing (i.e., "shooting script") was "strongly challenged by the technique of composition in depth used by Orson Welles and William Wyler." What is composition in depth? What are some examples from Welles's, Wyler's and/or Renoir's work? How does composition in depth "demand a more active mental attitude" and "bring ambiguity back into the structure of the image"?
You can find examples here:
http://www.tcf.ua.edu/Classes/Jbutler/T340/Bazin02.htm
All Groups
Bazin maintains that the camera movement when Batala is murdered at the end of The Crime of M. Lange "is the pure spatial expression of the entire mise-en-scene". What do you think Bazin means by this? How is he using the term "mise-en-scene" (is it the same as in Film Art?)?
- Hint: remember the original scenario for the film was titled, On the Courtyard.
http://www.tcf.ua.edu/Classes/Jbutler/T340/BestYears01.jpg
Bibliography
- Bazin, André. "The Evolution of Film Language." In The New Wave, pp. 24-51. Edited and translated by Peter Graham. Garden City, NY: Doubleday, 1968.
- Bazin, André. "The Era of the Popular Front." In Jean Renoir, pp. 36-52. Edited and with an introduction by Francois Truffaut. Translated by W. W. Halsey II and William H. Simon. NY: Simon & Schuster, 1973.
