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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The same event, the same object, can be represented in various ways.

With minimal resources, the neorealist filmmakers worked in real locations using local people as well as professional actors; they improvised their scripts, as need be, on site; and their films conveyed a powerful sense of the plight of ordinary individuals oppressed by political circumstances beyond their control.

But this illusion conceals an essential bit of deceit because reality exists in continuous space and the screen presents us, by contrast, with a succession of fragments called “shots. In La terra trema, the actor, sometimes on camera for several minutes at a time, speaks, moves, and acts with complete naturalness — one might even say, with unimaginable grace. In the old days of andte Russian cinema, too, we admired its preference for nonprofessional actors who played on the screen the roles of their daily lives.

André Bazin and Italian Neorealism

This volume thus represents a major contribution to the discipline of cinema studies, as well as a testament to the continuing influence of one of film’s pre-eminent critical thinkers. Nearly everyone acquainted with Bazin eulogized his wisdom together with his personal goodness — and couched both in terms drawn from religious asceticism. The Naples episode of the urchin — a black-market expert, seiling the clothes of a drunk Negro soldier — is an excellent Saroyan story.

In addition, the political climate of postwar Italy was favorable to the rise of cinematic neorealism, since this artistic movement was initially a product of the spirit of resistance fostered by the Partisan movement.


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

Life cannot be captured through scenarios. The objective nature of the modem novel, by reducing the strictly grammatical aspect of its stylistics to a minimum, has laid bare the secret essence of style. In the world of cinema, it is not necessary that everyone approve every film, provided that what prompts the publics incomprehension can be compensated for by the other things. Surprisingly enough, Zavattini — the author of so many neorealist scenarios — expressed a similar suspicion of narratives, with one fundamental difference.

The construction thus introduces an obviously abstract element into reality. Want to Read Currently Reading Read. Indeed, one reason for neorealisms ultimate decline was that its aesthetic principle of using nonprofessional actors conflicted with the economic interests of the various organizations of professional Italian actors.

Nazi Cinema and Charles L. The technique of Neofealism undoubtedly maintains an intelligible succession of events, but these do not mesh like a chain with the sprockets of a wheel.

Nicole Schrag marked it as to-read Feb 14, But if cinema never quite merges with life, thats what allows it to be an art form whose mission is to reveal life.

Every form of aesthetic must necessarily choose between what is worth preserving and what should be discarded, and what should not even be considered.

There is in Bazins thought and writing no Byzantine attitude, no ornamental preciosity, no tendency to “split hair,” for which some of his critical opponents reproached him or if he did so, it was horizontally.

Given Bazihs passionate advocacy of this cinema of “transparency,” it may seem puzzling that he is likewise remembered in film history as an architect of the celebrated politique des auteurs. A zero cinema for a zero nation: Here, for the first time throughout an entire film, there was no variation in quality between interior and exterior as to the style of the shooting script, the performance of the actors, and the results of the photography.

The realist trend, the anfre, satirical, and social descrip- tions of everyday life, the sensitive and poetic verism, were, before the war, minor qualities, neorealisk violets flowering at the feet of the giant sequoias of production. Some while later, a German patrol discovers this, and executes the inhabitants of the farm. Zavattini never pretended that neorealism succeeded in renouncing classic narrative arches. I simply state it for this once without thereby pre-judging either the intrinsic validity of such an evolution or the extent to which it is final.


The failed teacher quickly turned into a missionary of the cinema, his passion for which was part of his general passion for culture, aesthetic truth, and moral or spiritual sensibility.

American films are being made in Italy today but never has the Italian film been at the same time more abd Italian. Thus, in Italy, Resistance and Liberation, unlike the Paris uprising, are in no sense just words with an historical connotation. How is it that the child is still alive?

André Bazin and Italian Neorealism – André Bazin – Google Books

Yet while many people now make their livings teaching film and far better livings than Bazin ever enjoyedsome teachers look back with longing to that era when reflection about the movies took place in a natural arena rather than in the hothouse atmosphere common to universities.

There might be a few half-lies hidden somewhere in all this. It is of compelling interest not only to teachers and students of cinema but potentially to a wider public of film enthusiasts. But most importantly, by indulging in the illusion of neorealism as a cultural revolution, leftist criticism found a way to repress the role that culture and intellectuals many of whom were now enlisted in the Communist Party played during the Fascist regime. This influence is equally present everywhere in Bazins work, it must be said, as when he contemplates the notions of time and memory or confronts the forces of change and flux.

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