Download What Cinema Is! (Blackwell Manifestos) by Dudley Andrew PDF

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By Dudley Andrew

What Cinema Is! deals an interesting resolution to Andre Bazin's famous query, exploring his 'idea of cinema' with a sweeping glance again on the close to century of Cinema's out of the ordinary ascendancy.  Written through one of many premier movie students of our timeEstablishes cinema’s contrast from the present enthusiasm over audio-visual leisure, with out relegating cinema to a unmarried, older modeExamines cinema's associations and its social strength in the course of the characteristics of key filmsTraces the heritage of an idea that has made cinema supremely alive to (and in) our occasions

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Extra resources for What Cinema Is! (Blackwell Manifestos)

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41 Those "blinders" are exactly what Renoir uses in the spyglass scene al­ ready mentioned from R ules of the Game. Christine uses her "cam­ era" to look at birds and then by chance sights her husband in an "apparent" embrace with a mistress. Renoir, playing Octave, stands behind her and so seems to encourage her mistake, for she makes a mistake: the husband is in fact separating from his mis­ tress for good so as to be true to Christine. This is the very turning point of the tragedy as Christine, believing from the visible evi­ dence that her husband is traducing her, will throw off her naive constancy and enter the whirling dance of untethered eroticism that leads to death and dispersion.

Only the camera, Zahedi intimates, can bring us back to the full reality that we are surrounded by but generally ignore, reduced to our myopic personal projects. The camera can put us in touch with the everyday world of appearan­ ces and with a temporality of singular moments so rich that they mock the frenetic pace that our schemes demand of us. This amounts to a common enough view of Bazin's ideas, to a simpli­ fied "Bazinism," 8 and Linklater must know it, for he undercuts the cliches by having them professed in rapid-fire monologue by a hy­ peractive character clearly full of himself, hardly someone to The Camera Search ing in the World 7 whom revelations easily come.

And principally women look, by the beauty of flowers and land­ scapes, by the eloquence of gestures . . in short, by the glorious appearance of the world. But Renoir, according to his son, was af­ ter something deeper. If any filmmaker copied Renoir, it was his son, in the way he, like his father, used sympathy and comeliness as a tactic to burrow into and through what he pictured. In the very first pages of his biography, Renoir My Father, Jean wrote: "I admired my father's painting intensely, but it was a blind sort of admiration.

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