By Dudley Andrew
André Bazin, frequently dubbed the daddy of the French New Wave, has had an incredible impression on movie artwork. he's credited with virtually single-handedly developing the learn of movie as an authorised highbrow pursuit. The magazine that he based in 1951, Cahiers du Cinéma, is still the main influential archive of cinema feedback. He is still probably the most learn, so much studied, and most tasty figures ever to have written approximately movie. the previous couple of years have witnessed a tremendous 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 heritage, feedback, and appreciation. Andrew's highbrow biography is a landmark in movie scholarship.
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Additional info for André Bazin (Revised Edition)
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. If religion still had a role to play, I identified with the forces pressuring Vatican II to complete a revolution in the Church that seemed under way. One philosopher in particular combined existentialism and committed Catholicism: Gabriel Marcel. ” I could sense his Heideggerian notion of “homo viator” in films like Bergman’s The Magician and Fellini’s La Strada.
At different times and in different circumstances, distinct facets of Bazin rotate into view. Instead of a timeless Bazin existing beyond all these circumstantial appearances, let us try to hold in view the multiple appearances themselves, as proof of the fertility of his essays and the profundity of his thought. This paradox of identity in history has a pedigree of which Bazin was fully aware. ” I leave it to philosophers and literary experts to unravel this paradox. I cite it because Bazin cited it and because it resonates with another quotation on the nature of identity and change written by Bazin’s great contemporary Merleau-Ponty.
They suggested that he wait a year and prepare for the exam by attending the nearby École Normale of Versailles. What was meant about his health is uncertain. Bazin had never been athletic; Preparing for a life of teaching 10 T H E F O R M AT I V E Y E A R S he was unquestionably delicate, but there had been up to this time neither serious diseases nor symptoms. In any case, this delay in his plans was not discouraging, and the year Bazin spent at Versailles saw the emergence of his serious interest in the arts.
André Bazin (Revised Edition) by Dudley Andrew