Andre Bazin’s articles on Italian neo-realism1 are centred around lengthy discussion of the There is a real world out there: Italian neo-realism is the triumph. ANDRE BAZIN wrote about film better than anybody else in Europe. From that day in when he to which Italian neorealism owed its triumph in 16 . André Bazin and Italian Neorealism presents a new selection of André Bazin’s writings on Vittorio De Sica, Roberto Rossellini, and Federico.

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Bazins criticism is not remotely doctrinal in its Catholicism, however; it is fundamentally holistic, its source lying elsewhere than in aesthetic dissection.

Bazins stake in the politique can probably be traced back to his involvement in the s Christian existential movement known as personalism, which posited the creative individual who takes risks, makes choices, and exercises his or her God-given faculty of free will. Yet, his book fails in providing a definition of neorealism equipped to do amdre to neordalism Italian cinema: May Gold of Naples De Sica, The general attitude in modern times and modernist anv is bewilderment.

Yet his pristine vision of an aesthetic reality remains, strictly speaking, the Defining the Real: The mind has to leap from one event to the other as one leaps from stone to stone in crossing a river. It is no surprise then that the critical focus illuminated neorealist films as mirrors of the pro-filmic rather than as aesthetic artefacts.

André Bazin and Italian Neorealism: André Bazin: Bert Cardullo: Continuum

Instead, one comes into contact with a person — or, more correctly, a soul — bound by a sacred charge to inquire after truth. Besides, the resemblances between the technique of Orson Welles and that of the American novel, notably Dos Passos, are sufficiently obvious to allow me now to expound my thesis. There he founded a cinema club where he showed politically banned films in defiance of the Nazi authorities and the Vichy government. Mateo Fusilier rated it it was amazing Mar 29, But it is not being a dupe, it is simply being sensible to accept in a work what is in it.

And the past neoeralism disappeared into nothingness.

But the nature of the “image facts” is not only to maintain with the other image facts the relationships invented by the mind. Now the Russians’ use of montage had much more complex aims, aesthetic and ideological, than presumed audience gratification of the Hollywood kind, but technically it, too, was a mosaic or discontinuous approach to reality.


Some measure of reality must always be sacrificed in the effort of achieving it. Above ancre, one principle lies at the basis of every piece Bazin ever penned. In a rare moment of self-reflexivity, Rossellini in his odd La macchina ammazzacattivi tells the story of a magic camera with the power of making disappear the evil-doers it photographs. While noting his success, let us also note that it is practically unique and that the problems presented by a peasant film, so far as the acting is concerned, are no different from those of an exotic film.

Individual films and filmmakers all carve up the unbroken plenitude of the real, imposing on it style and meaning. He not only points out that films by De Sica and Rossellini do seek to demonstrate certain a priori theses regarding the real.

Bazin on Neo-Realism | Screen | Oxford Academic

Griffith, and American cinema had continued in the “editing” vein. Producers are only too glad to repeat a success by catering to the well-known public fondness for seeing their favorite actors in their established roles. Except for unmistakable Resistance films like Vivere in pace or II sole sorge ancorathe Italian cinema was noted for its concern with actual day-to-day events.

Up to now we had only known beorealism film composed of sketches — a bastard and phony type of film if ever there was one.

First, because lighting calls for a studio, and the greater part of the filming is done on exteriors or in real-life settings. Lastly and most importantly, the absolution affects all Italians. As soon as the indexical link between realism and reality is problematized, it becomes difficult to uncritically accept the idea of neorealism as an ethic-aesthetic revolution, as a pure cinema not spoiled by ideology or fiction.

Although this meant that those who opposed Fascism could not make movies and that foreign pictures were censored, the Fascists helped to establish the essential requirements for a flourishing postwar film industry.

Neorealism exists more in Bazin and Deleuze than it ever existed in film history; in books more than at the movies; on paper more than on celluloid. 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 An Aesthetic Approach Toronto, The book also features a sizable scholarly apparatus including explanatory notes, an extensive index, a contextual introduction to Bazin’s life and work, a comprehensive Bazin bibliography, and credits of the films discussed.


That is why the Italian filmmakers alone know how to shoot successful scenes in buses, trucks, or trains, namely because these scenes combine to create a special density within the framework of which they know how to portray an action without separating it from its material context, and without loss of that uniquely human quality of which it is an integral part.

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As the most eminent critic of the preceding decade of the s in France, Bazin became a figurehead for the estab- lishment, and the militant new regime at Cahiers hammered him for his supposed political complicity an Oedipal rebellion if ever there was one. No one, except perhaps Gilles Deleuze. His true filmmaker attains power through “style,” which is not a thing to be expressed but an inner orientation enabling an outward search or quest.

When it comes to Italian film, norealism neorealist fever seems endemic.

Yet Bazin never entirely lost sight of his educational ambitions, evidenced in an heuristic style of argument that implies more than it states and forces readers andrw think for themselves. His anguished eyes are on the door. Neorealism, I argue, is not a theory in film or new wave in cinema history, but a narrative category: Unquestionably we must not underestimate the popularity of the American novelists in Italy, where their works were translated and assimilated long before they were in France, and the influence for example of Saroyan on Vittorini is common knowledge.

Visconti, like Rouquier, aimed at and unquestionably achieved a paradoxical synthesis of realism and aestheticism, but the poetry of Farrebique is due, in essence, to montage — for example, the winter and spring sequences. Furthermore, the bazjn of this pictures production relatively little shooting in the studio, film stock bought on the black market and developed without the typical viewing of daily rushes, post-synchronization of sound to avoid laboratory costs, limited financial backing did much to create many of the myths surrounding neorealism.

Undoubtedly an improved technique, skillfully applied, may narrow the holes of the net, but one is compelled to choose between one kind of reality and another.

Bazin died at Nogent-sur- Marne on November 11,