Download André Bazin, the Critic as Thinker: American Cinema from by R. J. Cardullo PDF

By R. J. Cardullo

ISBN-10: 9463008780

ISBN-13: 9789463008785

André Bazin (1918–58) is credited with nearly single-handedly developing the learn of movie as an authorised highbrow pursuit, in addition to with being the non secular father of the French New Wave. between those that got here lower than his tutelage have been 4 who could cross directly to develop into the main popular administrators of the postwar French cinema: François Truffaut, Jean-Luc Godard, Jacques Rivette, and Claude Chabrol. Bazin is usually thought of the imperative instigator of the both influential auteur idea: the concept, due to the fact movie is an paintings shape, the director of a film has to be perceived because the leader author of its precise cinematic style.

André Bazin, the Critic as philosopher: American Cinema from Early Chaplin to the overdue 1950s includes, for the 1st time in English in a single quantity, a lot if now not all of Bazin’s writings on American cinema: on administrators comparable to Orson Welles, Charles Chaplin, Preston Sturges, Alfred Hitchcock, Howard Hawks, John Huston, Nicholas Ray, Erich von Stroheim, and Elia Kazan; and on motion pictures resembling High Noon, Citizen Kane, Rear Window, Limelight, Scarface, Niagara, The purple Badge of Courage, Greed, and Sullivan’s Travels.

André Bazin, the Critic as philosopher: American Cinema from Early Chaplin to the overdue 1950s additionally incorporates a vast scholarly equipment, together with a contextual creation to Bazin’s existence and paintings, an entire bibliography of Bazin’s writings on American cinema, and credit of the movies mentioned. This quantity hence represents an immense contribution to the nonetheless starting to be educational self-discipline of cinema reports, in addition to a testomony to the ongoing effect of 1 of the world’s pre-eminent severe thinkers.

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Sample text

So we find at the source of the western the ethics of the epic and even of tragedy. The western is in the epic category because of the superhuman level of its heroes and the legendary magnitude of their feats of valor. Billy the Kid is as invulnerable as Achilles and his revolver is infallible. The cowboy is a knight-at-arms. The style of the mise en scène is in keeping with the character of the hero: a transformation into the epic is evident in the set-ups of the shots, with their predilection for vast horizons, all-encompassing images that constantly bring to mind the conflict between man and 16 Westerns and Americans nature.

You could rightly refute such a presumption by pointing out that this quality is evident in 1940’s The Westerner, for example, and there is something of it in the veteran Hawks’s Red River and The Big Sky, as well. People assure me, although I myself do not detect it, that there is much of the novelistic western in Fritz Lang’s Rancho Notorious [1952]. In any event it is certain that King Vidor’s excellent Man Without a Star [1954] is to be viewed from this perspective, somewhere between Nicholas Ray and Anthony Mann.

The marshal is Gary Cooper, whose old and weary mask slowly becomes one of fear, loneliness, and despair. The man who played the eccentric but winning Longfellow Deeds in Frank Capra’s Mr. Deeds Goes to Town [1936] is now just a long, vacillating silhouette in tall cowboy boots as he wanders down deserted streets. What I will criticize about High Noon, in spite of its evident and even exceptional qualities, may be those qualities themselves. Without question, this is one of the three best westerns since Stagecoach (the other two being The Westerner and My Darling Clementine).

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