By André Bazin
André Bazin and Italian Neorealism provides a brand new choice of André Bazin's writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser recognized yet vital neorealist works corresponding to The Roof, Forbidden Christ, and Love within the urban; and very important issues like realism as opposed to truth, neorealism's eclipse amid postwar Italy's fiscal prosperity, and the connection among neorealism and propaganda. There also are essays on artwork and politics, movie and comedy, and cinema and the avant-garde.
The ebook additionally incorporates a tremendous scholarly equipment together with explanatory notes, an intensive index, a contextual advent to Bazin's existence and paintings, a accomplished Bazin bibliography, and credit of the movies mentioned. This quantity hence represents an important contribution to the self-discipline of cinema reviews, in addition to a testomony to the continued impact of 1 of film's pre-eminent serious thinkers.
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The personal adventures of the two individuals blend into the mass of other adventures, just as one attempts to elbow one’s way into a crowd to recover something one has lost. In the course of making one’s way one sees in the eyes of those who stand aside the reflections of other concerns, other passions, other dangers alongside which one’s own may well be merely laughable. Ultimately and by chance, the woman learns, from a wounded partisan, that the man she is looking for is dead. But the statement from which she learned the news was not aimed straight at her—but hit her like a stray bullet.
Neorealism’s influence on French New Wave directors like Truffaut is a matter of record, but its impact on the American cinema has generally been ignored. , 1947), Jules Dassin (The Naked City, 1948), Joseph Losey (The Lawless, 1950), Robert Rossen (Body and Soul, 1947), and Edward Dymytryk (Crossfire, 1947), stylistic elements of neorealism can be found together with neorealism’s thematic concern with social and political problems. The Italian movement has even had a profound impact on filmmakers in countries that once lacked strong national cinemas of their own, such as India, where Satyajit Ray adopted a typically neorealist stance in his Apu trilogy, outstanding among whose three films is Pather Panchali (1955).
Thanks to the depth of focus of the lens, Welles restored to reality its visible continuity. We clearly see with what elements of reality the cinema has enriched itself. But from other points of view, it is also evident that it has moved away from reality or at least that it gets no nearer to it than does the classical aesthetic. In ruling out, because of the complexity of his techniques, all recourse to nature in the raw, natural settings, exteriors, sunlight, and nonprofessional actors, Orson Welles rejects those qualities of the authentic document for which there is no substitute and which, being likewise a part of reality, can themselves establish a form of realism.