What Does Cinematic Realism Mean For Andre Bazin

What does cinematic realism mean for Andrà © Bazin? (2000 words) (N.B. Each essay question should be discussed in relation to one or more audiovisual examples (e.g., individual films and/or film scenes, computer games) of your own choice. You are encouraged to make use of visual material in your essay. This essay will discuss the meaning of cinematic realism for Andre Bazin, a French film critic, theorist and mentor to directors, who; he also co-founded the influential film magazine Cahiers du Cinema in 1951 alongside Jacques Doniol- Valcroze and Joseph-Marie Lo Duca. This publication was a review of cinema, it re-invented criticism and theory of films. In order to do so it will be necessary to first of all discuss various arguments or schools of thought regarding the essence of cinema, such as those of formative theorists like Rudolf Arnheim and Bela Balazs as well as those of the Soviet montage theorists, such as Eisenstein, before moving on to the ideas of the Italian neo-realists, their influence on Bazin and finally Bazin himself. The key factors of realism for Bazin, such as mise en scene, the long take and how they differ from other film making techniques such as montage will be analysed. This will be done particularly in relation to De Sica’s 1948 film, Ladri di Bic iclette. According to Robert Stam (2000, p.72) ever since the arrival of talking pictures, debates arose concerning the â€Å"essence of cinema. There were particular differences between â€Å"formative†Show MoreRelatedEssay about Andrà © Bazin: Film Critic Extraordinaire977 Words   |  4 Pagestime evolved so did the means of replicating reality. As far back as cave drawings, humans have tried to make sense of their surroundings through artificial means. We can go through time and see this process evolve from engraving, to painting, to photography, and to its most convincing form to date: cinema. In the task of duplicating reality cinema has surpassed all other forms of representation. Looking at the other means which are mentioned above we see cinema is the first mean that is able to captureRead MoreThe Relationship Between Film And Reality2372 Words   |  10 Pagesone of the most contested and debated issues in the film history. Cinematic realism, which is neither a specific c riteria to judge the film or a rigid property of the cinematic images, has in another way been an extremely useful concept for theorists to examine the cinematic images’ difference with still photograph, theater and other art types. Film theorists have come up with different ideas regarding the development of film realism in the past century, among whom two opposite but relevant approachesRead MoreCritical Review of Andre Bazin Rudolf Arnheim Articles1331 Words   |  5 Pagescritical review will focus on the articles of Andre Bazin [What is cinema?] (1945) and Rudolf Arnheim [From Film as Art: the complete film] (1933). Through a close reading of both articles, I intend to evaluate and compare the different concepts of cinematography based on the two different film critics’ articles from a critical point of view. These two articles highlight the same topic from different perspectives with regards to cinema and art, what they have in common and how each writer keeps theRead MoreRealism In Laura Mulveys Blue Is The Warmest Color1848 Words   |  8 Pagesthe male gaze of the protagonist are not an introspective experience; it is instead shared with the spectator. Realism is a theory predicated on the bel ief that the essence of cinema is the depiction and reproduction of reality. Andre Bazin, a French film theorist who co-founded film magazine Cahiers du Cinema in 1951 - is credited as a founding figure in the theorising of film realism. (Continued†¦) Furthermore, the role of spectatorship in film theory is equally as significant as the perspectiveRead MoreEssay on The Romantic Notion of a Film Director 2217 Words   |  9 PagesThe intention of this essay is to discuss the romantic notion of a film director who has etched their own cinematic vision into the body of their film work, and whether the theory and practice is dead and an infringement of the spectator’s imagination and is it the spectator who finds meaning in the film. I will be closely looking at critical material, primarily Andrà © Bazin and Roland Barthes and applying them to several case study films directed by Christopher Nolan including The Following (1998)Read MoreThe History Of Filmmaking Is Vast And Spans Several Centuries,1776 Words   |  8 Pagesas a classical art. The contrasting ideas between Lev Manovich’s â€Å"Digital Cinema and the History of a Moving Image† and Andrà © Bazin’s â€Å"The Ontology of the Photographic Image† reflect the evolution of filmmaking through different lenses by approaching film from opposite angles. Manovich believes that the modernization of filmmaking technology improves cinematic realism; while Bazin claims the exact opposite in that making even the slightest alteration to any film cell destroys what’s real. ManovichRead MoreThe Art Cinema As A Mode Of Film Essay948 Words   |  4 Pagesa Mode of Film’ in an effort to convey the main idea that â€Å"art cinema† can be considered as a distinct mode of film practice, through its definite historical existence alongside other cinematic modes, set of formal conventions, and implicit viewing procedures. Rather than searching for the source of the art, or what drives the art in film, Bordwell compares art cinema to the classical narrative cinema, and highlights the differences in narrative structure. Bordwell makes the assumption that it definedRead MoreArt Cinema As Institution, Screen, 22 ( 1981 )1597 Words   |  7 PagesNeale, S. (1981). Art cinema as institution, Screen, 22(1), 11-39. In Art Cinema as Institution, Steve Neale outlines the role of Art Cinema in the attempts made by various European countries both as a means to challenge ‘American domination of their indigenous markets in film† (p.11), and to further develop a film culture of their own. Neale theorises that a general pattern of the history of Art Cinema within the French, German and Italian film industries, follows an early period in which theRead MoreMetz Film Language a Semiotics of the Cinema PDF100902 Words   |  316 Pagesunfamiliar with the concepts and terms of semiotics. Excepting the inadequate translation of a few words which either cannot be translated into English or only approximately translated, few semantic and stylistic improvements are needed and the translation does justice to Metz s text. In some instances, usage did not adopt Michael Taylor s solution. The most glaring example of his innovative translation is the word significate now usually translated by signified (signifià © in French)—which is used throughout