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	'''André Bazin''' (], ]–], ]) was a renowned and influential ] ] and film theorist.		'''André Bazin''' (], ]–], ]) was a renowned and influential ] ] and film theorist.
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	Bazin was a major force in post-World War II film studies and criticism. In addition to editing ''Cahiers'' until his death, a four-volume collection of his writings was published posthumously from 1958 to 1962 and titled ''Qu'est-ce que le cinéma?'' (''What is Cinema?''). Two of these volumes were translated into English in the late 1960s and 1970s and became mainstays of film courses in the US and England.		Bazin was a major force in post-World War II film studies and criticism. In addition to editing ''Cahiers'' until his death, a four-volume collection of his writings was published posthumously from 1958 to 1962 and titled ''Qu'est-ce que le cinéma?'' (''What is Cinema?''). Two of these volumes were translated into English in the late 1960s and 1970s and became mainstays of film courses in the US and England.

	Bazin argued for films that depicted objective reality (such as documentaries and films of the ] school) and directors who made themselves invisible (such as ]). He advocated the use of ] (]), wide shots (]) and the "shot-in-depth", and ~~prefered~~ what he referred to as "true continuity" through '']'' over experiments in editing. This placed him in opposition to film theory of the 1920s and 1930s which emphasized how the cinema can manipulate reality.		Bazin argued for films that depicted objective reality (such as documentaries and films of the ] school) and directors who made themselves invisible (such as ]). He advocated the use of ] (]), wide shots (]) and the "shot-in-depth", and preferred what he referred to as "true continuity" through '']'' over experiments in editing. This placed him in opposition to film theory of the 1920s and 1930s which emphasized how the cinema can manipulate reality.

	The concentration on objective reality, deep focus, and lack of ] are linked to Bazin's belief that the interpretation of a film or scene should be left to the spectator.		The concentration on objective reality, deep focus, and lack of ] are linked to Bazin's belief that the interpretation of a film or scene should be left to the spectator.

Revision as of 09:58, 27 January 2006

André Bazin (April 18, 1918–November 11, 1958) was a renowned and influential French film critic and film theorist.

Biography

Bazin was born in Angers, France, in 1918. He started to write about film in 1943 and was a co-founder of the film magazine Cahiers du cinéma in 1951, along with Jacques Doniol-Valcroze and Lo Duca. As a spiritual father of the Nouvelle Vague (French New Wave), he was also a mentor and personal friend to young film critics and filmmakers-to-be such as Jean-Luc Godard and François Truffaut. Bazin died in Nogent-sur-Marne, Île-de-France, France, in 1958 at the age of 39 due to leukemia.

Film criticism

Bazin was a major force in post-World War II film studies and criticism. In addition to editing Cahiers until his death, a four-volume collection of his writings was published posthumously from 1958 to 1962 and titled Qu'est-ce que le cinéma? (What is Cinema?). Two of these volumes were translated into English in the late 1960s and 1970s and became mainstays of film courses in the US and England.

Bazin argued for films that depicted objective reality (such as documentaries and films of the Italian neorealism school) and directors who made themselves invisible (such as Howard Hawks). He advocated the use of deep focus (Orson Welles), wide shots (Jean Renoir) and the "shot-in-depth", and preferred what he referred to as "true continuity" through mise en scène over experiments in editing. This placed him in opposition to film theory of the 1920s and 1930s which emphasized how the cinema can manipulate reality.

The concentration on objective reality, deep focus, and lack of montage are linked to Bazin's belief that the interpretation of a film or scene should be left to the spectator.

Bazin believed that a film should represent a director's personal vision, which was rooted in the spiritual beliefs known as personalism. These ideas would have a pivotal importance on the development of the Auteur theory, which originated in an article by Truffaut in Cahiers.

Bazin also is known as a proponent of "appreciative criticism," wherein only critics who like a film can write a review of it, thus encouraging constructive criticism.

Bazin in pop culture

Truffaut dedicated The 400 Blows to Bazin.
Richard Linklater's film Waking Life features a discussion of Bazin's film theory. There is an emphasis on Bazin's Christianity and the belief that every shot is a presentation of God manifest.

Bibliography

In English:

What Is Cinema?, by André Bazin (1967)
Orson Welles, by André Bazin (1979)
French Cinema of the Occupation and Resistance: The Birth of a Critical Esthetic, by André Bazin (1982)
The Cinema of Cruelty: From Bunuel to Hitchcock, by André Bazin (1982)
Essays on Chaplin, by André Bazin (1985)
Jean Renoir, by André Bazin (1992)
Bazin at Work: Major Essays & Reviews from the Forties and Fifties, by André Bazin, Bert Cardullo (ed.) (1996)
French Cinema from the Liberation to the New Wave, 1945-1958, by André Bazin, Bert Cardullo (ed.) (2004)

In French:

Qu'est-ce que le cinéma?, by André Bazin, originally published 1958-1962. New edition: Les Éditions du CERF, 2003.

External links

Online essays

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