By Andre Bazin, Bert Cardullo
Bazin's impression on movie paintings, as theorist and critic, is taken into account to be more than that of any unmarried director, actor, or manufacturer. he's credited with virtually single-handedly setting up the examine of movie as an accredited highbrow pursuit, in addition to with being the religious father of the French New Wave. Bazin at Work is the 1st English number of disparate Bazin writings because the visual appeal of the second one quantity of What Is Cinema? in 1971. It contains paintings from Cahiers le cinema (which he based and that's the main influential unmarried severe periodical within the historical past of the cinema) and Esprit. He addresses filmmakers together with Rossellini, Eisenstein, Pagnol, and Capra and famous movies together with La Strada, Citizen Kane, Scarface, and The Bridge at the River Kwai.
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Additional info for Bazin at Work: Major Essays and Reviews From the Forties and Fifties
Through his belief in the importance of environment, Antoine helped to establish the principle that each play requires its own setting quite distinct from that of any other work. Antoine was also influential in the development of a realistic acting style. He coached his mosdy amateur actors carefully, directing them to behave as if there were no audi ence, discouraging conventionalized movement and declamatory speech, and always seeking natural behavior from them. 7. Editor’s note: Etienne-Jules Marey (1830-1904), a French physician and physiologist, took an early interest in the study of animal motion.
The field of the camera begins with the keyboard of the piano large in the foreground, includes March and Russell in an “American” shot,16 encompasses the whole barroom, and distincdy shows in the background a tiny Andrews in the telephone booth. This shot is clearly built upon two dramatic poles and three characters. The action in the foreground is secondary, although interesting and peculiar enough to require our keen attention since it occupies a privileged place and surface on the screen. Paradoxically, the true action, the one that constitutes at this precise moment a turning point in the story, develops almost clan destinely in a tiny rectangle at the back of the room—in the left comer of the screen.
What actor would not dream of being able to play a scene, immobile on a chair, in front of 5,000 view ers who don’t miss the slightest movement of an eye? What theater direc tor would not want the spectator in the worst seat at the back of the house to be able to see clearly the movements of his actors, and to read with ease his intentions at any moment in the action? Wyler didn’t choose to do anything other than realize on film the essence of a theatrical mise en sem e that would not use the lights and the set to ornament the actor and the text.