The Logic of cinema by Albert Laffay – In comparison with André Bazin

2021 ◽  
Vol 87 (3) ◽  
pp. 81-125
Author(s):  
Sangwon Ahn
Keyword(s):  
Andre Bazin

scholarly journals Dos efeitos de real a uma política do ócio em Abbas Kiarostami

Intexto ◽  
2020 ◽  
pp. 65-83
Author(s):  
Demétrio Rocha Pereira ◽  
Felipe Diniz ◽  
Lennon Macedo
Keyword(s):  
Roland Barthes ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
Andre Bazin ◽  
Christian Metz

Abbas Kiarostami aplica em seus filmes e escritos certa técnica de produção de real a partir da observação de pequenos detalhes em contínuo movimento. Este artigo investiga como o cineasta elabora o ócio enquanto dispositivo para instalar no espectador um efeito de real. Esse mesmo procedimento de estudo do supérfluo e do ínfimo se codifica diferentemente quando subordinado às causalidades narrativas, resultando numa semiótica da ingenuidade. Com o suporte dos estudos de André Bazin, Christian Metz, Roland Barthes e Jacques Rancière, traçamos um caminho que apresenta personagens humanos e não humanos como vetores obstinados de uma política do ócio.

scholarly journals Ética, estética e o cinema da crueldade

2016 ◽  
Vol 1 (2) ◽  
Author(s):  
Fagner Torres de França
Keyword(s):  
Pierre Bourdieu ◽  
Antonin Artaud ◽  
Andre Bazin

O objetivo do texto é problematizar a discussão sobre ética e estética suscitada por Pierre Bourdieu no livro A Distinção, acrescentando outros elementos de análise, como o maior desenvolvimento da indústria cultural e a emergência de valores pós-moralistas na esteira do capitalismo. A finalidade é analisar como ocorre a relação entre ética e estética no contexto das novas produções culturais hegemônicas, cujo alcance é cada vez mais amplo. Nesse sentido, o intuito é introduzir a ideia de Cinema da Crueldade, de André Bazin, sob o ponto de vista do conceito de Crueldade de Antonin Artaud, no âmbito do cinema, na tentativa de encontrar outro caminho para pensar a questão sobre as fronteiras entre ética e estética.

scholarly journals No Quarto de Vanda e a trilogia de Fontainhas de Pedro Costa: plasticidade, documentário, história encontrada.

2018 ◽  
Vol 6 (2) ◽  
Author(s):  
Miguel Angel Lomillos
Keyword(s):  
Siegfried Kracauer ◽  
Andre Bazin

 Resumo            A introdução do equipamento de vídeo digital em No Quarto de Vanda (2000) trouxe para o cineasta português Pedro Costa um método de trabalho mais livre e independente, bem como um novo estilo e uma poética singular.A tentativa de qualificar esta nova dimensão da obra de Costa é feita a partir de três eixos: a plasticidade e a influência do cinema dos primórdios, a tradição do cinema documentário e as teorias realistas de André Bazin e Siegfried Kracauer. 

A Filmmaker in His Library

2021 ◽  
Vol 6 (3) ◽  
pp. 397-413
Author(s):  
Annalisa Mirizio
Keyword(s):  
Technical Development ◽  
Pier Paolo Pasolini ◽  
Andre Bazin

Abstract In his 1952 essay “For an Impure Cinema: In Defense of Adaptation,” André Bazin defended cinema’s “impurity” as a necessary element in the medium’s formal evolution and technical development. The Italian writer, filmmaker, and essayist Pier Paolo Pasolini based his own artistic method on the tension among the distinct artistic languages that characterizes Bazin’s “impure cinema,” thereby situating his work in his “library-laboratory,” a space where ideas circulate beyond their disciplinary fields. In keeping with Bazin’s essay, this article illuminates how Pasolini turned his library into a toolbox and blurred the boundaries between mediums of creation and categories of theoretical thought.

Realism and André Bazin

2018 ◽  
pp. 206-237
Author(s):  
Michael Frierson
Keyword(s):  
Andre Bazin

Actors, Non-professional Actors, Starlets, and Stars

2019 ◽  
Author(s):  
Francesco Pitassio
Keyword(s):  
Film History ◽  
Film Performance ◽  
Popular Theatre ◽  
Andre Bazin ◽  
The Relationship

Film critics and film history celebrate neorealism for its use of nonprofessional performers in a number of masterpieces. However, as lucid observers such as André Bazin pointed out in the late 1940s, neorealist films relied on a mixture of professional and non-professional actors. This chapter describes the debate on film performance and its origins from the mid-1930s to the early 1950s and looks at how the use of non-professional performers was associated with neorealism’s aim to present a non-narrative cinematic representation. Moreover, the chapter examines the relationship between neorealism, non-professional performers, and phenomena such as popular theatre and new female stardom. The chapter ends with a case study of the most renowned neorealist actress, Anna Magnani.

Charles Chaplin

2015 ◽  
Author(s):  
Donna Kornhaber
Keyword(s):  
Film History ◽  
Charlie Chaplin ◽  
Feature Films ◽  
Short Films ◽  
Charles Chaplin ◽  
History Of ◽  
Marked Decline ◽  
Andre Bazin ◽  
Film Stars ◽  
Sound Technology

Charles Chaplin (b. 1889–d. 1977), better known as Charlie Chaplin, was one of the greatest film stars of the 20th century and one of the most important filmmakers in the history of the medium. Born into poverty in London to a family of music hall performers, Chaplin grew up in destitution with his mother, who suffered from periods of insanity. He joined the prestigious Karno stage company while a teenager and from there was recruited to the fledgling Keystone Studios, famous for its raucous brand of slapstick films. Chaplin excelled at Keystone, quickly developing the “Tramp” character that would become his mainstay and graduating to directing his own short films after only weeks on the job. He left Keystone within a year for a series of more lucrative contracts, quickly becoming one of the highest-paid figures in the film industry and creating a classic body of short films. By 1919 Chaplin had amassed a large enough fortune to start his own film studio and co-founded United Artists to distribute his works, leaving him all but free from outside influence or interference. Throughout the 1920s he created the feature films that would help define his legacy but struggled with the advent of sound technology, refusing to include spoken dialogue in his films for nearly a decade. Chaplin’s first full talkie, The Great Dictator (1940), offered a scathing parody of fascist dictatorship and marked a newfound political mode in his filmmaking. Chaplin’s leftist politics, coupled with a scandalous and protracted paternity suit in the mid-1940s, soon led to a marked decline in his popularity, such that when he left for a worldwide publicity tour for Limelight (1952) he was denied reentry to the country. Chaplin lived the remainder of his life in Switzerland, returning to America only in 1972 to accept an honorary Academy Award. Critical appraisal of Chaplin’s body of work has varied over the decades. Hailed as a genius from early in his career, he saw his critical fortunes fall with his transition to talking pictures. Yet Chaplin always had a coterie of dedicated critical supporters, including such illustrious figures as André Bazin and Andrew Sarris, and the critical estimation of his work has only grown since his death. He remains today one of the most lauded and beloved figures in film history.

Sign in / Sign up

Export Citation Format

Share Document