Difference between revisions of "André Bazin"
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This placed him in opposition to film theory of the 1920s and 1930s, which emphasized how the cinema could manipulate reality. | This placed him in opposition to film theory of the 1920s and 1930s, which emphasized how the cinema could manipulate reality. | ||
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| + | == Long take versus montage == | ||
| + | |||
| + | He preferred [[Long take|long takes]] to [[montage editing]]. | ||
== See also == | == See also == | ||
| + | * [[Film]] | ||
| + | * [[Long take]] | ||
* [[Mise-en-scène]] | * [[Mise-en-scène]] | ||
| + | * [[Montage (film)]] | ||
== External links == | == External links == | ||
* [https://en.wikipedia.org/wiki/Andr%C3%A9_Bazin André Bazin] @ Wikipedia | * [https://en.wikipedia.org/wiki/Andr%C3%A9_Bazin André Bazin] @ Wikipedia | ||
Revision as of 12:26, 27 February 2016
André Bazin (French: [bazɛ̃]; 18 April 1918 – 11 November 1958) was a renowned and influential French film critic and film theorist.
Life and work
Bazin started to write about film in 1943 and was a co-founder of the renowned film magazine Cahiers du cinéma in 1951, along with Jacques Doniol-Valcroze and Joseph-Marie Lo Duca.
Bazin's call for objective reality, deep focus, and lack of montage are linked to his belief that the interpretation of a film or scene should be left to the spectator.
This placed him in opposition to film theory of the 1920s and 1930s, which emphasized how the cinema could manipulate reality.
Long take versus montage
He preferred long takes to montage editing.
See also
External links
- André Bazin @ Wikipedia
