By Dudley Andrew
André Bazin, usually dubbed the daddy of the French New Wave, has had a big effect on movie paintings. he's credited with virtually single-handedly constructing the research of movie as an approved highbrow pursuit. The magazine that he based in 1951, Cahiers du Cinéma, is still the main influential archive of cinema feedback. He continues to be the most learn, so much studied, and most attractive figures ever to have written approximately movie. the previous couple of years have witnessed a major resurgence of curiosity in Bazin between critics, students, and scholars of each persuasion. His writings, a mainstay of movie concept classes, are actually discovering a spot at the syllabi of middle classes in movie background, feedback, and appreciation. Andrew's highbrow biography is a landmark in movie scholarship.
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Extra info for André Bazin (Revised Edition)
It was also a philosophy that suited a decade in which authority had been undermined, from the Watts riots that I witnessed in Los Angeles to the strike at Columbia University in the spring of 1968 in which I participated. There were assassinations, demonstrations against the Vietnam War, British rock ’n’ roll, and la nouvelle vague. Having attended an elite Jesuit high school, I was studying at the University of Notre Dame, where I rebelled against traditional philosophy by writing papers on Heidegger, Sartre, and Camus.
Ironically Bazin would have a chance to return to England and America only because of the francophobia of the times. If the French had turned against Bazin, then perhaps he was worth reexamining. During the eighties, American scholarship had grown quite independent of continental thought, believing themselves to be better grounded in both historical method and in philosophy. Bazin still was ignored or reprimanded but not because of his politics or ideology. Now it was the philosopher and film scholar Noël Carroll who in the 1988 Philosophical Problems of Classical Film Theory belittled his logic.
In the era in which Bazin wrote, the average production lacked artistic ambition to such an extent that the role of the critic frequently was to point out to one or another workaday filmmaker the talent which he had never noticed in himself. Today it is quite the contrary. More often it happens that although the ambitions of filmmakers are very high their execution can’t keep up with them. Bazin, if he were still alive, would have helped us understand ourselves well enough to establish a better harmony among our projects, our aptitudes, our goals, and our style.