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An Academic Essay: The Opening Paragraph

Introduction to Andre Bazin, Part 1: Theory of Film Style in its Historical Context. Andre Bazin, film critic, theorist, philosopher, and humanist wrote a series of essays between the years 1944 and intro of an, 1958, before he died at dissertation styles the young age of intro essay 40. Vernonia V. Action Research! The majority of them were anthologized in their original language in the four volume set Qu’est- ce que le cinema? Selections from these four volumes were trans­lated by Hugh Gray and intro paragraph essay, presented in two English volumes: What is Cinema? Other major works translated into English include Jean Renoir, Orson Welles: A Critical View, and French Cinema of the Occupation and the Resistance.

A recent collection of essays translated into English is Bazin At Work : Major Essays And Reviews From The Forties And Fifties , edited by critical Bert Cardullo. Other crucial non- anthologized articles are found in the journals Esprit, Cahiers du Cinema and Les Temps Modernes . Given the breadth of his work, I have limited myself in this introduction to essay his theoretical work and omitted his critical work on genre/cycles (the Western, Neo-realism) and/or specific films. In my exposition of these writings I do not purport to be exhaustive, but rather to arrive at heroes an understanding of Bazin’s cinematic beliefs. By expounding, commenting on, and making necessary connections I will attempt to intro paragraph synthesize a complex man and his works into a manageable form. Any element of criticism is a residue of the rigorous thought process propelled by his writings. THE ESSENCE OF CINEMA. Bazin sees cinema as “an idealistic phenomenon” and only consequently technical. Being a humanist he believes that the idea precedes the invention and hence is superior to v. action research from the technical means used to achieve it. He categorizes the early pioneers (Muybridge, Niepce, Leroy, Demeny, Joy, Edison, Lumiere) as “ingenious industrialists” at best. Later, in intro paragraph of an, his now famous essay “The Evolution of the Language of Cinema” he would extrapolate this formula of “idea necessitating technical means” into complexity of subject matter necessitating a new form/style. To Bazin the cinema is an essay explanation, inherently realistic ­because of the mechanical mediation of the camera.

This is not the same as saying that cinema is “objective” in any sense other than relative, and that cinema is untouched by intro paragraph of an essay ideological and cultural factors, as many of Bazin’s critics have said. What Bazin does do with this fact is place cinema above painting – the camera vs. the brush- as a medium for duplicating reality. Further, cinema’s ability to record the event in time, making “an imprint of the noah dissertations on the english language 1789, duration of the object” elevates it above photography. Although the potential for human intervention is intro paragraph essay, always present, even granting the mechanical intervention, Bazin believes that the learning, filmmaker owes it to the complexity of reality to paragraph of an essay refrain from false subjective manipulation and overwrought formalist mediation. The “myth” of total cinema Bazin speaks of is a reflection of humanity’s psychological and indeed ethical, obsession in the arts with depicting reality. 1 Possibly as a means of countering mortality, humanity has forever been attempting to preserve his/her likeness in one form or another. Noah Webster Dissertations English Language 1789! As Prakash Younger notes in his involved argumentation in his Offscreen essay, there is an ethical and moral link between the paragraph of an, real world and the practice of artistic creation and spectatorial reception of art which informs the “aesthetic” practice and vernonia v. action, theory of of an essay Bazin. This moral and ethical link does not circumvent the alexander an essay explanation, ideological, but stands as a way through the “impasse” of the ideological, or, to once again quote Prakash, “pseudorealism” to get at the “true realism.” As time evolved so did the paragraph, means of artistically replicating reality, from cave drawings, to mummification, to engraving, to painting, to photography, and to its (thus far) most convincing form, cinema. In the dissertation learning, task of intro paragraph of an duplicating reality cinema has surpassed all other forms of representation. Research Papers! Bazin envisions each rung on cinema’s evolutionary ladder as a step toward a more realistic depiction of the world (sound, color, depth of field, 3- D,etc.).

Since Bazin believes that the origins of an art reveal its nature, cinema’s quest for realism supports his claim for an objective and pure cinema. This “myth” which grew out of cinema’s beginnings stands as the touchstone cinema has progressively evolved toward. Much of the confusion concerning Bazin’s writings – and indeed a major concern in the canon of film theory- is intro paragraph, traceable to the relationship between the filmed image and alexander on criticism explanation, its life counterpart. How does Bazin explain this relationship? He describes it in the following terms: 1) The photographic image is “a kind of decal or transfer”; 2) “The photographic image is the object itself, the paragraph, object freed from the conditions of critical time and of an, space that govern it”; 3) Photography embalms time; 4) “The photograph as such and the object in itself share a common being, after the fashion of a fingerprint”; 5) “In no sense is it the image of an object or persons, more correctly it is its tracing”; 6) “The photograph proceeds … to the taking of a veritable luminous impression in light – to a mold. As such it carries with it more than mere resemblance, namely a kind of identity …”; 7) “The cinema … makes an imprint of the research papers, duration of the object.” 2 The words Bazin uses are essentially synonyms: decal, transfer, fingerprint, tracing, mold, imprint. The reverberations suggest a quasi- mystical relationship between the subject and its photographic double. Given Bazin’s strong Catholic background it may or may not be begging credulity to mention at this point an underlying presence of religious reverberation in intro paragraph, lines two and six.

Line two says that the photographic image is the Market Database, object itself, only “freed” from time and space. By “freeing” the paragraph essay, object Bazin is vernonia research papers from, implying a form of salvation or transgression to a higher moral/spiritual plateau. Line seven emits a spiritual echo through the words “a veritable luminous impression in light.” Could the photographic reproduction be in of an, a symbolic sense the soul of its real life counterpart? Even when, in essay, his article “La Technique du Citizen Kane ,” 3 Bazin defends Welles against George Sadoul’s charges of unoriginality he concludes with the spiritualistic thought that Welles, the modern artist, has left behind (through his films) “a resonance the likes of intro paragraph of an essay which we have never known before” (my translation). I offer this as a possible interpretation for the consistently allegorical tone of Bazin’s writings concerning the relationship between the subject/object and its filmic double. THE EVOLUTION OF THE LANGUAGE OF CINEMA : an Exploration of cinema style.

In this section I will lay out Bazin’s seminal discussion of the francis heroes essay, historical evolution of film style. I should stress that my aim here is to explicate this trajectory rather than situate it within Bazin’s broader theoretical ideas. I admit that even the few criticisms I make with regard Bazin’s critical application of intro paragraph realist style can be smoothed over by relating Bazin’s analysis of cinematic language to his larger philosophical and theoretical aims. With the championing of critical for beowulf realism as the intro paragraph essay, eventual goal, Bazin wrote a thoughtful historical overview of the noah webster dissertations language, evolution of film language. The major tenet coming from intro paragraph of an, this overview is that the jump from silent to sound cinema was not the major evolutional point in alexander on criticism explanation, film language. That breakthrough point would arrive several years later (1940-41).

Bazin’s starting point for his historical overview is the silent period. Employing a stylistic and intro of an essay, semi-auteur approach he groups all directors between the years 1920 to 1940 into two groups: one which base their integrity in the image (the imagists) and another which base their integrity in reality (the realists). The imagists are broken down into two camps, those working with the critical essay for beowulf, plastics (lighting, decor, composition, acting) and those working with the editing (the montagists). The realists do not distort time (like the of an, montagists) or space (like the expressionists) but attempt to depict true reality. The major exponents of the realist camp are F.W.

Murnau, Eric Von Stroheim, Robert Flaherty, Carl Dreyer, and critical essay, Jean Renoir. The montagists are also broken down into two camps, distinguished mainly by a time frame: 1920- 30 (Abel Gance, D.W. Griffith, Sergei Eisenstein) and 1930- 40 (the American classical “invisible” style, influenced largely, I believe, by Vsevelod Pudovkin). The end of the silent period brought the two “image” camps to their apex in the form of German Expressionism (the plastics) and intro paragraph, the Soviet Post-Revolution cinema (the montagists). The jump from the silent to critical essay sound cinema did not give evidence to any immediate effects on shooting or editing styles. By the late 30’s sound moved editing toward realism, switching the operative cutting style from symbolic/expressive to intro paragraph of an dramatic/analytic. Market Database! Editing style became more or less standardized. Paragraph Of An! Cinema reached a point of classical perfection where content fused with form. By now, 1939, cinema had reached the point where most technical innovations were established (color, track, dolly, crane, zoom, sound, panchromatic film stock) and the next evolutionary advancement, if there was to be one, would not be propelled by a technical matter but a thematic one: the subject matter and the effect it imposed on technical/formal aspects. The result of this was, according to learning Bazin, the most important aesthetic revolution in film history, the arrival of the mise-en-scene style. In brief then, here is Bazin’s evolution of film language: a) Plastics (lighting, decor, composition, acting) b) Montagists (editing)

2) The Realists:(long take, on intro, location shooting, objective approach) By 1928 the Imagists peak with a) expressionism and Market Database, b) Soviet cinema. Paragraph Of An Essay! Early sound films do not show immediate advancement of dissertations language 1789 either style. By the of an essay, late 30’s sound technique leads montage toward realism. By the late 30’s we witness the perfect fusion of form/content, sound/image. Film reaches its “equilibrium- profile” ( Jezebel , Stagecoach , Le Jour se leve ). By 1939 all major technical advancements are established; the next step in evolution of noah dissertations english language style is spurred by subject matter. a) Pure objective realism (Neo- Realism, Documentary) b) Spatial Realism (Jean Renoir, Orson Welles, William Wyler). The implication in Bazin’s historical evolution is that by the 1940’s the imagist style had been completely engulfed by the realist style. The imagists, having had their glory days in the silent period, were confronted by the realists and, after a realist maturation period in the 30’s, over­taken by them.

A graph would read: A new type of intro of an essay Realism evolves, splitting up into two camps, as did the essay, Imagists during the silent period, and totally dominating 1940: a) Spatial realists; and b) Pure objective realists. This historical progress toward realism is in perfect accordance with Bazin’s notion of the cinema continually inching forward toward the pure “myth” of total cinema. The force of intro paragraph of an essay History does not always obey, and this movement does not hold true for long. There is some historical truth in Bazin’s schema because, indeed, the Market Database, imagists did dominate during the silent period, as did the intro of an essay, realists during the later 30’s, but Bazin’s contention of the Market Database, post 1940 period being dominated by the realist style is quickly but into question by film-noir, a movement/style derivative of German Expressionism. Nowhere in What is Cinema Vol. 1 2 do we see even a passing remark at film noir or the expressionistic-like Universal horror films of the intro paragraph of an essay, 30’s. This oversight is surprising, especially with the for beowulf, evidence already building around Bazin toward the evolutionary direction which the dialectics of realism/formalism would take: toward a harmonious existence where the two become more or less equal and paragraph essay, interchangeable operative modes of francis heroes a complex art form.

4. I would also add that Bazin underplays the importance of sound transition to emphasize his spatial-temporal ontological theory of realism. He realized how important a step sound was toward realism, eliminating the intro essay, need for expressivity and “denaturalization” that was a large part of silent cinema. However, Bazin overlooks just how important a psychological role sound played in achieving the impression of reality, and the impression of space and depth that were so important to him. Essay For Beowulf! Sound added immensely to realism in cinema but Bazin, perhaps so as not to interfere with his spatial/temporal claim, downplays it.

He clearly emphasizes the psychological role with regard to the visuals, so the omission may be a result of sound theory not yet entering into the general discourse of intro film analysis. Market Database! This aural component is still excluded by many people today when discussing the claim to realism cinema has over other arts. I must mention a final slender point of intro paragraph of an essay disagreement. By including Murnau and v. action papers students, Dreyer as realists Bazin is falling into the same trap that Siegfried Kracauer does when he accepts certain fantastical/formalistic scenes when they are in the proper “realist” context, such as a dream or a specific point of view (Tudor 94). Bazin is on intro paragraph essay, shaky ground when he removes Nosferatu and The Passion of Joan of Arc from the expressionistic mode on the frail basis of Nosferatu ‘s on-location photography and Dreyer’s refrain from the use of make-up for his actors (Bazin, What is noah webster dissertations on the english, Cinema Vol.1 109-110). What then becomes of Nosferatu ‘s sinister shadows, fast motion and negative photography, and expressionistic acting, and The Passion of Joan of Arc ‘s abstraction of space and intro paragraph essay, extreme reliance on close-ups? In neither case do the slim realist tendencies compensate for the overwhelming artistic intervention, as does Welles’ spatial realism for example. Both films fail to completely qualify for either of Bazin’s realistic camps –the documentary- like “pure” realism or the spatial realism.

Although one can argue that Nosferatu is ‘more realist’ than other expressionist films of the time, and that The Passion of Joan of Arc is so unique and iconoclastic in style, that the pope on criticism explanation, affect on the spectator is one of realism. Having pointed toward Bazin’s preference for the mise-en-scene style I will now discuss his reasons for that choice. The depth of field/long take style, known as mise-en-scene, attracted itself to Bazin for two essential reasons: a) It maintained the unity of space and the relationship between the objects within that space. b) It gave the spectator, according to Bazin, the freedom to direct his/her own control over the viewing process, including what to look at, in what order, for how long, and to make their own synthesis of that viewing process. Together they maintain the ambiguity – the paragraph of an, existential ambiguity present all around us in life- of that space. Mise-en-scene can incorporate two styles, one being a documentary­-like process where the camera “allows us to see” the event (Neo- Realism) and a second more aesthetic rendition of reality where the realism derives almost exclusively from the an essay, respect for intro essay spatial unity (Welles, Andrei Tarkovsky, and Theo Angelopoulos). An integral part of the mise-en-scene style is the presence of depth of cassavant essay field.

Bazin wrote entirely on intro of an essay, this aspect in the article “Pour en finir avec la profondeur de champ” (“My Final Words on Depth of Field”) ( Cahiers du Cinema . 17-23). This article begins by stating that depth of field belongs only incidentally to the technical domain (my translation): If depth of field interests us it is only incidentally as a technical progress of a shooting style and, essentially, as a revolution of mise-en-scene or, more precisely, ‘decoupage’ (19). Here he sets down the kernel for the balance of the dissertation styles, article. Paragraph Essay! Bazin examines a frame from the 1910 film Onesime (Louis Feuillade) and Market Database, sees in intro paragraph of an essay, its composition in depth and soft focus the seeds for research papers from the later more refined depth of intro paragraph of an field style. The shot in questions has the title character framed in left, extreme close-up, with a secondary character visible in cassavant heroes essay, the right background of the frame (my translation): Something outside of Feuillade’s genius allowed him to spontaneously discover a prophetic frame, a rough outline of a Renoir or Wellesian shot. In this case, the discovery was not out of genius, but out of necessity – he did not have a choice (20).

Given the technical state of 1910 the intro paragraph, shot succeeds partly; both planes are visible but the background is v. action research papers from students, soft. Again, giving the state of cinematography (to render a clear, legible image) and the state of audience awareness the softness of the background appears as a default. With the ameliorization of the depth of field shooting style and the parallel advancement of audience awareness, soft focus becomes a technique (rack focus and intro paragraph of an essay, softening of a part of the image for an effect) and takes on a different meaning, that of decoupage. 5 The soft focus effect is (my translation) … an indirect means in which to place value in the shot which is being focused; it transcribes in the frame the dramatic hierarchy which montage expresses in time. In this new complex perception the clarity of the background is no longer indispensable; soft focus is no longer experienced like an im­probability: it becomes contrast and not contradiction ( Cahiers du Cinema 22). In a pre-montage context Feuillade foreshadows the dissertation learning styles, true sense of depth of field – the ability to preclude montage through decoupage in depth. 6 According to Bazin decoupage in depth approaches a realism in an ontological sense, restoring to objects their existential density.

All elements, actor/object and foreground/background are fused into one perceptual pattern (Bazin, Orson Welles , 80). Intro Paragraph Of An! A final quote serves, perhaps more than any other, as a testament to francis cassavant essay Bazin’s burning stance as “realist” theorist (my translation): In classical style when a character becomes secondary he is usually eliminated from the scene. Welles maintains that his play not be so precise, but to keep the of an, character “alive” so as to allow the spectators to continually dispense their attention. We must constantly be on the lookout for principal actions which can produce itself “behind our backs” so to speak. Here a part is taken from reality; a way of posing reality homogenous, of Market Database considering it indivisible and accruing equal weight to all coordinates of the screen. All the intro, decor and all the actors in the total image are equally offered to the action and at the same time to our attention. If they remain outside it is nothing but a hazard as equally unpredictable as an isolated result of the numbers game (Bazin, Les Temps Modernes 947). Unlike Eisenstein, who wrote voluminously on dissertation styles, montage and comparatively little on its antithesis, Bazin wrote substantially on montage. Paragraph Of An Essay! Bazin describes editing as a “series of alexander pope an essay explanation either logical or subjective points of view of an intro paragraph essay, event.” Dealing with sound films, he lists three motives for cutting: 1) As a purely logical descriptive analysis of the narrative 2) As a psychological analysis from a character’s point of Market Database view and intro essay, 3) As a psychological analysis from the francis cassavant, audience’s point of intro view. (Strangely, he shortly thereafter refers to them as “arbitrary”) ( What is Cinema Vol.

1 , 92). Bazin opposes classical and expressive editing on the following counts. The simple geographically and psychologically logical (dramatic) cutting within a scene does not add anything to on the language 1789 the intent of a scene, only adding emphasis. So why bother? If the scene has only one simple meaning why insult the audience’s intelligence with needless and obvious close-ups? Contrarily, if the scene is complex why presuppose only one meaning? Expressive editing invents meaning through juxtaposition of the images and not through the images themselves. This is trickery; it removes the freedom on the part of the spectator to select for him or herself and removes whatever existential ambiguity may be present in the scene. Therefore it is not faithful to reality, either spatially, temporally, or morally.

Bazin is intro paragraph essay, not against editing which forms the basis of film structure, that is cutting necessary to join unconnected scenes/sequences, but is against optical illusions (superimpositions, dissolves, process shots), needless pedestrian editing within a single scene, and expressive editing that adds meaning through the juxtaposition rather than content of each image. Bazin employs a simple aesthetic criteria for dissertation deciding when to edit: anytime two or more objects/subjects are necessary to the construction of intro of an essay meaning in a scene, depth of vernonia research papers from students field is preferable over editing. Bazin opposes the contention that editing is a more realistic depiction of the intro, physiological viewing process on several counts. Logical cutting according to vernonia v. action papers students drama, narrative, and anticipation constructs a sense of an integral space. The master shot establishes a location so that the cutting to points within is physically (spatially) understood; the dramatic action makes it psychologically understood. This cutting leads the audience along and is usually one step ahead of them. Bazin sees this as only one of paragraph two possible modes of realism. This mode appropriates the realism of the Market Database, narrative process and the mental process following it. Intro Essay! The second mode of realism appropriates the event itself. The implication is that there is a choice between one type of reality and cassavant heroes essay, another.

Here it is instructive to recall Younger’s distinction in Bazin’s understanding of realism in art between “pseudorealism” and “true realism” -the former being caught in the trappings of paragraph of an essay ideology or meaningless formal articulations. All arts share in this inability to completely capture reality, but there are differing ways of countering this problem. The true realist does not fight against this opposition but merely tries to accommodate it through sincerity and honesty. According to Bazin, within the essay, historical conditions of the intro, 1940s and 1950s, the alexander, best way to achieve this was by means of spatial integrity, depth of field, and intro paragraph essay, the long take mise-en-scene. Cinema can never totally duplicate the viewing process – physiologically and psychologically. Alexander Pope An Essay On Criticism Explanation! That would be impossible, and if possible it would be a visual quagmire.

Bazin realizes that the human eye does not perceive a scene in paragraph of an essay, the same way as a camera recording a scene in depth of field and/or long take. This limitation becomes a virtue. By being faithful to the space and the event itself the spectator is able to perceive this hypothetical scene with greater insight and clarity than if he/she were physically present at the scene. The reality of filmic space and the filmic event supercedes the heroes, human perception of it. The essay “The Virtues and Limitations of Montage” presents, in the strongest possible sense, Bazin’s mistrust for montage and intro of an essay, discloses the essence of noah language 1789 his preference for the mise-en-scene style. Bazin denounces the “trickery” of montage, evident in paragraph of an, the animal film by Jean Tourane.

Here montage becomes emblematic of its untruthfulness – by papers relating the human qualities of animals by virtue of off-screen guidance and editing. Later in paragraph, the essay he discusses the process shot, an equally deceiving effect, and says that the point is not whether or not the trickery is noticeable, but whether or not it is used (a question of integrity). Pope Explanation! Thus far Bazin’s reasoning implies that the artist has a moral obligation to the audience and the faithful rendition of the of an essay, event/space. Webster English Language 1789! He then uses an example from the film Where No Vultures Fly to demonstrate how much more effective depth of field is than parallel montage. (The scene has a wandering child playfully picking up a stray lion cub and then being pursued by the lioness.) The fact that the lion is tame is unimportant; this deceit is made “morally” correct because it occurs in paragraph essay, a homogenous space. Bazin sees no deceit in the proceedings behind a long take/depth of Market Database field shot (numerous takes, removal of walls, props, etc.) but instead wants us to neglect the causal events and consider only the final results. 7 (Contradictorily, Bazin supports his contention that photography is superior to painting by referring to their causal means – mechanical intervention vs. Paragraph Of An Essay! human intervention. Though ‘mechanical’ must be considered relatively, since all ‘tools’ (pen, brush, needle, etc) used in art are a form, lesser perhaps, of mechanical intervention.) Through these contradictions we can decipher Bazin’s true motives for his disliking montage and upholding mise-en-scene. Montage is untruthful to spatial integrity and learning styles, also deceives the audience through its juxtapositioning; therefore montage is of secondary importance, morally and aesthetically, to the mise-en-scene style. The integrity of spatial unity is of the utmost importance and supercedes all else – deceit included. Intro Paragraph Of An! Bazin’s preference for spatial unity can also be understood as a philosophical (Bergsonian) preference, as I will point out in Part 2 of this essay.

BAZIN THE THEORETICAL WORLD. In this section I will point to some overlooked parallels between Bazin and other classical film theorists. Alexander Pope An Essay! An interesting development/argument ensues when considering Bazin’s stance toward editing in relation to Vsevelod Pudovkin’s theory. In Pudovkin’s illuminating and influential film theory the natural way for a filmmaker to constitute a scene is to assume a hypothetical “perfect” observer, an imaginary, attentive, sensitive eye which captures the intro essay, scene not the way everyone would see it but the way an acutely intense, analytical, and research papers from students, probing observer would. This is an paragraph essay, ideal approach, but realistically, most directors either do not place that much thought into v. action papers from the editing or do not have the aptitude to, and, consequently, fall back on the more traditional editing style, to of an what Noel Burch terms the “zero point of cinematic style” (11). Even given the ideal, Bazin would still reject Pudovkin’s theory because of its potential to reduce the learning, possibility for of an multiple interpretations.

Deciding for or against one theory may ultimately hinge on the complexity of the particular scene. Given a simple, straightforward scene where the meaning is only at the surface level, Bazin’s resistance to the theory is tenuous, but a complex scene with possible multiple interpretations gives more credence to Bazin’s opposition. Trying to select between Pudovkin’s ideal observer and Bazin’s democratic observer becomes more problematic if pursued further. Let’s take Bazin’s favorite example, the seal hunt scene from Nanook of the North . Bazin says that a traditional editing pattern would have ruined the impact of the single take scene. This may be true, but if that were indeed the best way to view that scene then Pudovkin’s ideal observer would also watch it from the same fixed viewpoint. The argument could go on and on. In principle, Bazin opposes the fragmentation of learning styles any scene which could be observed in paragraph of an, its spatial unity. Bazin and Rudolf Arnheim, despite one being a realist and the other a formalist, begin their theories from the same starting point. Both theorists begin with the contention that cinema reproduces reality mechanically. Heroes Essay! Arnheim’s end goal is the equation film=art, while Bazin’s is film=reality. Intro Of An Essay! Bazin accepts the contention, and in fact posits it himself, but adds to it by elevating the filmic double to dissertations english language 1789 a spiritual/moral/ethical level.

Arnheim refutes the contention by intro essay saying that regardless of the process, even on the most elementary level the recording of an object/subject is answerable to many factors. (Example: The problem of reproducing three dimensional objects in a two dimensional medium – positioning of object- and the intangible aspect of intuition – deciding whether a person is more him or herself in profile or full face or whether one angle of a mountain is more expressive than another) (Arnheim, 8- 11). These decisions can not be arrived at mathematically but through human sensibility. Arnheim begins with the contention and then attempts to accord to the filmmaker the same artistic intervention of the v. action research from students, painter. Bazin, in contrast, downplays the filmmakers intervention. In both cases the paragraph essay, limitation – not being able to reproduce reality exactly- becomes the source for the respective ends. In Bazin’s case the film, in dissertation, its faithfulness to the event, grants the spectator a privileged experience of essay that event; in Arnheim’s case the spectator experiences the event colored through the artist’s sensibility. Writers who try to reveal inconsistencies in noah dissertations on the 1789, how Bazin applied his own theory to criticism often focused on his troubled affirmation of intro paragraph essay Welles as a realist. Andrew Tudor, in Theories of Film , says that Bazin enters “deep water” in doing so because Welles is the great inheritor of German Expressionism.

Tudor, although noting the two types of realism Bazin formulated – the pure realism and the spatial realism- does not allow Bazin this benefit. I can respect Tudor’s refusal to grant Bazin the dissertation learning styles, benefit of two types of realism, but I disagree with his reason. Of An! Tudor believes that Welles’ baroque style – the chiaroscuro lighting, the excessive camera movements, the odd angles- is, along with montage and decor, just “another – way of alexander pope an essay on criticism destroying the intro of an essay, visual unity of essay for beowulf space.” Bazin is well aware of Welles’ affinity for intro of an essay the baroque and the manipulative potential mise-en-scene carries: Welles’ pictures are more difficult to analyze because of his over-fondness for the baroque. Objects and characters are related in such a fashion that it is impossible for the spectator to critical miss the significance of the scene. To get the same results by way of intro paragraph of an essay montage would have necessitated a detailed succession of shots ( What is cassavant essay, Cinema Vol.1 34- 35). Bazin does not deny that the depth of field style can, in that sense, appropriate montage – for that is Bazin’s point- and the point missed by Tudor. Tudor’s accusation that Welles fragments space with his baroque style can be read as Bazin’s “decoupage in depth.” Hence, decoupage in depth is not anomalous to Bazin’s spatial realism but an of an, essential part of it. Although Welles inherited many traits from German Expressionism Tudor can not deny that the context is different – within Wellesian mise-en-scene- ­and that there is a difference between cutting a space through montage and cutting a space “in depth” as does Welles.

It is this distinction – manipulation via editing vs. manipulation via mise-en-scene- which makes the difference for Bazin. The last theorist I will consider is Brian Henderson. He serves as an endpoint to this section because Henderson exemplifies the by-product which can result from the constant need to reevaluate and think through existing theories. In his essay “Two Types of Film Theory” Henderson discusses the choice representatives of the formalist and realist camps, Eisenstein and Bazin. Market Database! One of the conclusions he arrives at is that both theories, albeit drastically different, are in the general sense, ‘incomplete’ theories of the sequence. Out of paragraph of an this evolves Henderson’s critique of both theories: neither considers the vernonia v. action papers, relation of the part (the sequence) to the whole. They do not envision a theory of the formal construction of the total film. At this point Henderson does not posit any answers, but only raises the question of whether there can be a theory dictating the complete organization of paragraph of an a film. Does Bazin’s theory, in any sense, constitute a “complete” theory (disregarding his neglect of sound)? The frame/shot/scene/sequence are the principal building blocks of film, with the sequence being the english 1789, largest “part.” Bazin’s mise-en-scene contains all these elements and his constant championing of mise-en-scene at the expense of montage dictates how these elements should be used; as such, this constitutes a theory of how a film should be constructed from beginning to end. Although Bazin expresses approval of simple editing to paragraph essay join homogenous spaces (connecting scenes/sequences which in critical essay, themselves are shot in depth), he never felt the need to expand on intro of an essay, the relationship between long take and Market Database, editing.

Consequently, all that is missing to form a “complete theory,” in the very general sense, is a term designating this “carry- over” from sequence to sequence. Henderson himself would later supply this term. Paragraph! In the vernonia v. action papers from, subsequent essay “The Long Take” Henderson examines the intro paragraph of an essay, role of editing within the long take style vis- a- vis Welles, Ophuls, and Murnau. As an cassavant, answer to his own query, he posits the inter and of an essay, intra-sequence cuts, cuts occurring in between sequences (inter) or within sequences (intra) (See essay by David George Menard, “Toward a Syntheis of Cinema- a Theory of the Long Take Moving Camera.”). Regardless of the Market Database, validity of Henderson’s theory, the point is of an, that through a thought process predicated on Bazin’s theory and a need to alexander pope an essay on criticism explanation “complete” it, Henderson constructed a theory of the sequence cut.

This interplay between contemporary and past theorist is paragraph of an, a vital part of the theoretical world’s evolution and proves the validity of alexander pope on criticism past theories. As art evolves so must the theories. In making this contention Bazin is, of course, glossing over a long line of antithetical movements (Expressionism, Surrealism, etc.) revolting against this obsession with realism. #8617; All of these quotes or paraphrases are taken from What is Cinema Vol. 1 pps. 14, 15, 96, 97. #8617; Andre Bazin, Les Temps- Modernes 17, (1947), 948. Although too long to quote in full, the latter part of this article explicitly reveals Bazin’s tendency to revert to a religious or mystical tone when supporting a claim he feels strongly for. #8617; There still are filmmakers who fall exclusively into intro paragraph of an one or the pope an essay, other camp, Miklos Jansco for example, but most directors utilize both styles according to intro of an essay their needs: Hitchcock, Godard, Kubrick, and Scorsese as prime examples #8617; There are two terms used by Bazin which either take on a different meaning in their English translation or don’t have an equivalent. Montage in English terminology implies a rigorous and expressive editing style. Most editing sequences juxtapose shots of vernonia v. action research from students varying space, time, and content combining to create an over- all idea, meaning, or tone.

Editing implies the formal construction of the film from one shot to the next and is not nec­essarily expressive. Bazin uses the terms interchangeably. The second term, decoupage, has no English equivalent. The French definition is “to cut,” but applied to film the intro of an, word is better described as construction. Noel Burch, in Theory of Film Practice, defines the three terms for which decoupage is inter­changeably used for as: 1) The final form of a script replete with the required technical information. 2) The practical breakdown of the film’s construction into separate shots/sequences prior to filming 3) The underlying structure of the finished film, which has probably deviated from the original “decoupage.” #8617; With the meaning of vernonia v. action research from decoupage in mind, we must consider the other means by which depth of field appropriates montage: the moving camera, especially the reframe, the zoom, lighting, props, and the use of off- screen space. #8617; The phenomenological approach at understanding the essence of phenomena also foregoes the causal series of events (Husserl’s “bracketing”). #8617; Donato Totaro has been the editor of the online film journal Offscreen since its inception in 1997. Totaro received his PhD in Film Television from the University of Warwick (UK), is a part-time professor in Film Studies at Concordia University (Montreal, Canada) and a longstanding member of essay AQCC (Association quebecoise des critiques de cinema). Bazin and “The River” as a Problem in the History of Film Theory, Part 1.

Re-thinking Bazin Through Renoir’s The River, Part 2. Re-reading Bazin’s Ontological Argument. Introduction to vernonia papers from students Andre Bazin, Part 2: Style as a Philosophical Idea. Susan Sontag: Against Interpretation? The Ending(s) of Cinema: Notes on the Recurrent Demise of the Seventh Art, Part 2. The Ending(s) of Cinema: Notes on the Recurrent Demise of the Seventh Art, Part 1.

1997 2017 Offscreen, ISSN 1712-9559.

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Essay on City Life vs. Village Life (2465 words) Essay on City Life vs. Village Life! One of the most striking features of industrial age is the growth of city life. Intro Paragraph Essay. In ancient times the people mostly lived in villages being engaged in agriculture.

Cities arose here and there as centres of trade or seats of government. Today in all industrialized countries the situation has been reversed. The urban population in England and the United States has expanded continuously over the rural population. New facilities of francis cassavant essay, transport and communication have brought thousands of people nearer to each other and made it convenient for them to live together in large aggregations. The growth of cities is a special feature of modern age and as the city grows the whole character of society undergoes a change. There is a sharp difference between the city and village life though with the expansion of urban influence on the village this difference is becoming more and more a matter of degree. However, in intro essay, spite of the recent trends of urbanisation the villages still retain many of their traditional features and present a sharp contrast with the urban life. In rural community the force of traditional mores and the bonds of family solidarity are more dominant than in the urban community.

According to Biesanz and Biesanz, “In the rural community custom is the king, the webster on the english language folkways and mores control most of behaviour,” The sense of group responsibility which tends to be more and more dissolved in the growth of the city prevails in village life. The type of village family is generally patriarchal in which the status of the individual is the status of his family. There is less individual questioning and rebellion. The family determines as to whether and whom the individual should marry for the maintenance of family name. Essay. There is lesser freedom in the selection of life partner. There are few love-marriages. Not only marriage but also religion, recreation, occupation pre determined by family traditions. Any deviation from the establish-id family traditions especially in pope an essay on criticism, sex matters, is regarded an offence against paragraph family unity and hardly tolerated. The life of Market Database, all men and women is merged in family life.

In short, family dominates individual’s life in village community. Moreover, the intro of an village community is too small to support a missionary society, like a Rotary Club. Noah Webster Dissertations On The English Language. The family is the only organisation which performs the task of aid and protection. For such functions there is no formal organisation with a president and secretary. On the other hand, in paragraph essay, the city community life is conspicuous by the absence of family life. The anonymous character of the city frees the urban dweller from close moral control.

Social control becomes the critical for beowulf activity of specialized agencies. Family control is lessened. Police and courts, teachers and social workers take over paragraph of an essay, the regulatory functions of the family circle. A “free lance” detached from family bonds is looked askance at in the village while such a person, even his norms of conduct, sexual and otherwise may pass unnoticed in the city and english 1789 be admitted to those places where high class gentry goes. If a person violates family marriage customs he- is not boycotted by the urban community, an impersonalized world. According to paragraph essay Davis, “He can escape the oppressive control of any primary group when he wishes, simply by disappearing into the sea of strangers.” It may also be noted that the urban life is more regulated by the State than the rural life is regulated.

Even minor matters like disposal of dissertations language 1789, garbage and refuse cannot be left to voluntary action. The government acquires many functions, some of which are community housekeeping duties. Thus, in a city as opposed to the village the mores and folkways are least counted on to handle the situation. In other words, the larger the city, the greater becomes the problem of control and the more complex the agencies of secondary control. Secondly, a village community is marked by immediate contacts between its members.

There is a strong ‘we-feeling’ in the rural community. Intro Paragraph Essay. We find members in a village community helping each other and sharing the joys and sorrows of each other. In the village everybody is known to Market Database everybody. Their relations are personal. Customers are not mere strangers but persons with whom all are acquainted. From such contacts each person knows a great deal about his neighbours, their activities, preferences and attitudes. Status of each one in the village community is well known. Written contracts are less important than a word of honour. Intro. Crime in village community is rare. Since there is little secrecy, stolen goods cannot be used and are difficult to dispose of.

Things are done by mutual understanding. Francis Essay. In city life, on intro of an essay the other hand, nearness counts much less. The inhabitants of a city hardly know each other. Sometimes, they do not know even their next-door neighbour nothing to speak of influencing their activities. In a big city like Bombay people living in the lower storey do not know the people living in the third or fourth storey. There is an atmosphere of indifference and pope an essay on criticism explanation callousness in a city. In a city like Calcutta, an inhabitant may spend a whole day in the street and never see a person he knows, though he may see tens of thousands of people. Even friend are likely to be known only in a particular context and in paragraph of an, a particular segment of life. In the words of Gist and Halbert, ‘The city encourages impersonal rather than personal relationships.” Most of the relations are indirect.

Competition has a far greater velocity in the city than in the village. Life in a village community is simple and uniform. There are few ambitious men and fewer excitements. The villagers lead a uniform life tilling land and rearing animals. Their standard of living is lower than that of the town because the means of earning money are limited. Critical For Beowulf. They view land as the most substantial of all heritages.

Agriculture is intro of an essay, their major occupation. When oppressive taxes or other measures threaten their ownership of land, they align themselves with radical movements as happened in Soviet Russia. The standard of living of the urban people is higher. They are more prodigal than the village people. Country life suggests ‘save’, City life suggests ‘spend’. The poor turning rich overnight or the rich being reduced to beggary in one day are cases unknown in the village.

The man of enterprise and adventurous spirit has no place in rural community. The city dweller becomes indifferent to extremes of all kinds. Indeed the distinction between public and private, between what is shown and what is concealed, is much sharper in the city. It is the public behaviour that the city regulates, the private behaviour it ignores. Another contrast between village and urban community is concerning the modes of production.

In the critical essay village as a rule, only a predominant type of occupation, Le., agriculture prevails. Each family bakes its own bread and does its own washing, for all the of an essay environment, physical as well as social, is the same. The city, on the other hand, is the place for all, the semiskilled worker, the skilled artisan, the “paper-expert”, the technician, the artist, the banker, the teacher, the social reformer and many others. It is a heterogeneous group of people engaged in for beowulf, various pursuits. The city tasks are divided and sub-divided to such an extreme that even the intro of an work of unskilled labour becomes specialized. The trend in heroes essay, the urban world is clearly in the direction of a larger percentage of specialized work leading to a multiplicity of organisations, economic and of an social. The residents of a city become affiliated with a number of organisations. Critical Essay For Beowulf. Their social relations are mostly indirect and secondary.

Members of a single family frequently belong to different organisations. Since these various organisations have different customs and procedures, there is opportunity for confusion and lack of understanding. The process of selection for the specialized work is keener. The management selects those who are best specialized in the work and ruthlessly reject all those who fall below the intro competitive standard. The owner of special ability has greater chances of noah webster on the 1789, quick promotion. The individual is rated more in terms of accomplishments than he is rated in the rural community. The city sifts and segregates all of the members according to their ability and finds a fit place for intro of an essay each. It provides public schools for the wealthy and private schools for the poor. It also provides distinctive schools for research elementary, higher, technical, cultural and professional education. It even provides separate schools for defective persons, e.g. Deaf and Dumb school.

The city requires and intro promotes great social mobility. It lays emphasis on achievement rather than the ascription of status. The urban dweller can raise or lower his status to a remarkable degree during his life time. The caste element in social stratification is minimized. Status centres on the occupation, on the nature and competence of the critical essay for beowulf activity, rather than on the accident of birth.

As opposed to paragraph the village in a city social climbing is most prevalent. Sorokin and Zimmermann have written, “The rural community is similar to calm waters in a pool and the urban community to boiling water in a kettle. Stability is the Market Database typical trait for the one mobility is the typical trait for the other.” Specialization is intro paragraph of an, also seen in the physical structure of the city. Vernonia V. Action Papers From Students. Distinctive areas are marked for different activities. Chandigarh, the capital of Punjab State, has been divided into different sectors, each sector with marked peculiarities.

In the western world specialization of areas has been carried to a greater extent than in India. The structure varies from city to city in accordance with the size, site and needs, of the city, but generally everywhere in the western world there is intro paragraph of an, a clear division of space into zones of business activity, of low rentals and vernonia v. action research papers from residential congestion, of transitory abode, of “middle-class” residence, of industrial concentration, and so forth. Specialization in the city has also influenced the life of women. If the social life had remained predominantly a village life, women would have been the drudges in the household. Industrialization and intro of an essay specialization have brought women to workshop and factory. They have entered into the wider life which has altered their outlook and habits and alexander pope an essay liberated them from the exclusiveness of domesticity. As MacIver observes, ‘The individualization of women has been fostered by urban life and the resulting freer reciprocity of relationship between men and women, as individuals, is exercising and paragraph essay will doubtless continue to exercise, since the process is still advancing, a significant influence on the whole structure of society.” The city community evokes in man the qualities which stand in sharp contrast with those demanded by rural community. The village calls for persistence, a more stern and dogged fidelity to the way of life. He is on criticism, fatalistic and of an is in constant contact with nature. He sees nature as the practical worker who must wrest a living from the soil.

He sees nature as friend and critical enemy, as the ripened of crops and sender of intro of an essay, rains. The forces of alexander pope an essay, nature are beyond his control and reckoning. Intro. He is essay, attached to- rituals and becomes superstitious and religious. The city requires alertness and quicker responses to changing situations. Paragraph Essay. The city dweller is more tolerant in matters of Market Database, religious beliefs, modes of of an essay, life, tastes and opinions. According to Bogardus, “Rural people are frank, open and genuine; they scorn the artificiality or many phases of city life.”

The city is ruled by impersonality of law and the caprice of pope explanation, fashion. In a rural community the intro rural moral codes are fixed and vernonia v. action from students strict. Any violation of of an essay, them leads to bitter estrangements and Market Database sometimes to of an essay personal tragedies. In a rural community there is much mutual aid. If a house is to be mud plastered, a feast given or a sickness nursed, the neighbours come in to webster dissertations on the language help. There is an atmosphere of kindliness.

There is a good deal of visiting, several times daily, between the people. In an of an urban community there is no strong ‘we feeling’. The absence of a common mode of occupation and the great impersonality of city life narrow the urbanite’s attachments and detract from his feeling of identification with the whole community. The secondary and voluntary character of urban association, the multiplicity of opportunities, and the social mobility all force the individual to make his own decisions and to plan his life as a career. The city instead of Market Database, suppressing the individuality emphasizes it. The competitiveness of the city places the individual over against everyone else he is not inexorably tied to any particular relationship or cause. He leaves one city to live in another city and does not feel any loss; but a countryman when uprooted from his village surroundings sheds tears from his eyes. Economic advancement and abundance of opportunities are common incentives of the city. The young men and women leave the rural community for urban community because the latter affords those more opportunities for employment and profits. But sometimes the intro of an essay men coming from the pope on criticism village may have to face disappointment and despair in the city.

So one should leave the village for city after a deep and careful thought. The above are then the features that distinguish rural from urban life. In the city “opposite conditions are found”, aggregation ; instead of physical isolation; associations of many kind’s supplementing or supplanting the functions of family or categorical relationships; contacts with human beings and civilization diversity superseding contacts with nature; differentiation of economic classes and specialization of economic tasks, ranking and intro paragraph of an grading men in ways often unknown in the country; limited and intensified work, with its endless varieties and disparities of opportunity and of fortune creating an intricate design of competitive living traditionally alien to the rural sense.” It may, however, be pointed out that urbanization of the rural population has reduced the differences between rural and urban community. The urban influence on the rural people can be seen in matters like social organisation, family organisation, food habits, standard of living, dress habits, cosmetics, religion, rituals, beliefs etc. The rural people are taking over the urban modes of life and as this has been happening, the rural way of life has been withering away. The more the villages are linked with the city through modes of transport and communication, the faster will be the urban influence on the rural life. This may lead to assimilation of the rural people into the urban way of life thereby eliminating the attitudinal and v. action research students other cultural differences between townsmen and countrymen.

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