Download André Bazin (Revised Edition) by Dudley Andrew PDF

By Dudley Andrew

André Bazin, usually dubbed the daddy of the French New Wave, has had an enormous effect on movie artwork. he's credited with nearly 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 some of the most learn, so much studied, and most attractive figures ever to have written approximately movie. the previous few years have witnessed an enormous resurgence of curiosity in Bazin between critics, students, and scholars of each persuasion. His writings, a mainstay of movie conception classes, at the moment are 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 resources for André Bazin (Revised Edition)

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On the way there, husband and wife play a game of naming. Each inserts a classical CD, and the other’s job is to correctly identify the singer, to match voice to name. The satisfaction the couple takes in correctly matching name to sound, sign to signifier, is both an expression of cultural mastery and an expression of confidence in an essential bond between the word and sound, speech and an authentic self. This confidence is, of course, what will disappear through torture. And along such lines, John Zorn’s terrifying, discordant music rages forth at the very moment in which Georg is unable to identify what he hears.

13 This absence, at the level of the image, has been largely reproduced in the memory and history of France itself. This, one can quite easily conjecture, is what Haneke is getting at in Caché: the image is everywhere and reveals much less than it hides. Or, what the image shows is the obverse manifestation of what caused it. The image, we might say, is disinformatic. Such is the representational logic of pain. 44 Pain and the Limits of Representation Funny Games depicts torture quite directly.

The duration of the film is spent on the torture and eventual murder of one particular family. The act of torture begins almost immediately and will carry through until, as one of the murderers himself suggests, the film has reached the standard length of the feature film. As spectators, our experience is like the experience of this onscreen family, and yet not at all. Many of us would be inclined to describe our own viewing experience as torturous; once Haneke’s camera is trained on this game of extreme violence, we are never provided with means of consolation.

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