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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As it stands, however, he wont succeed unless he can avoid falling in the direction in which his cinema is already perilously leaning. There is nothing aesthetically retrogressive about its neorealism; on the contrary, there is progress in expression, a triumphant evolution of the language of cinema, an neoreaism of its stylistics.

Having been handed a basket of eels, they take off. What if one considers his Cinema volumes as if they were a simple gazin of film and investigates their ability to capture Italian post-war cinema and do justice to actual neorealist films? 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.

Schoonover, for his part, focuses on the ethics of the neorealist gaze. Add to this the sunshine and the absence of clouds chief enemy of shooting on exteriors and you have explained why the urban exteriors of Italian films are superior to all others.

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The development of a new national consciousness also calls for the institution of certain behavioural automatisms, the establishment of reaction patterns to the perceived reality.

In particular, his disinclination to sacrifice anything to drama has one obvious and serious consequence: The capitalists and the Fascist authorities at abd provided Italy with modern studios. Thus the cinema stands in contrast to poetry, painting, and theater, and comes ever closer to the novel.

By contrast, the first line of Pudovkins Film Technique ahd At the moment the executioner is about to enter we can be quite sure that the director will cut to a close shot of the door handle as it slowly turns.

Bazin on Neo-Realism | Screen | Oxford Academic

Mateo Fusilier rated it it was amazing Mar 29, There are also essays on art and politics, film and comedy, and cinema and the avant-garde. In La vita ricomincia, spectatorial pleasure comes about in the guise of acquittal and denial.


This volume thus represents a major contribution to the still growing academic discipline of cinema studies. Physical description gazin, p. 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.

Realist or not, unlike all the other authors of major film theories, Bazin was a working or practical critic who wrote regularly about individual films.

Full text of “Bert Cardullo, Andre Bazin, Andre Bazin And Italian Neorealism”

He distrusted montage on the ground that its dynamic juxtaposition of images hurtles the viewer along a predetermined path of attention, the aim being to construct a synthetic reality in support of a propagandist or ad in both senses of the word message. A keen observer of Hollywood cinema whose “classical” adaptability he was among the first to appreciatehe nonetheless set its gifted practitioners on a lower rung than those masters who answered to his chaste and simple ideals: The camera must be equally as ready to move as to remain still.

It is not the absence of professional actors that is, historically, the hallmark of social realism or of the Italian film.

A carnival party stands for I vitelloni. Bwzin the Second World War, a different kind of “censorship” obtained: Once Mussolini fell from power, then, the stage was set for the development of a strong left-wing cinema. The technique of Rossellini undoubtedly maintains an intelligible succession of events, but these do not mesh like a chain with the sprockets of a wheel.

Bazin concedes that there is no art without artifice and that one must neorealjsm surrender a measure of reality in the process of translating it onto celluloid.

André Bazin and Italian Neorealism

And to pursue that interest, neorealist cinema had to place such a man in his own straitened circumstances. One always felt it was so, but in the reverberations of the accusations of witchcraft that some people today are making against actors suspected of a pact with the demon of art for arts sake, one has tended to forget it.

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.

It is no longer anrre editing that selects what we see, neorealissm giving it an a priori significance; it is the mind of the spectator which is forced to discern, as in a sort of parallelepiped or six-sided prism of reality with the screen as its cross-section, the dramatic spectrum proper to the scene.


It is for this precise reason that Deleuze cannot help but connect neorealism with science-fiction. While previously we had an action cinema in which characters were able to modify their living contexts, now we have a cinema of idleness wherein characters wander around and wonder about the unprecedented environments they face.

He holds that a film is structurally constituted by the alternation of movement-images and time-images, action and suspense, resolution and paralysis. Yet his pristine vision of an aesthetic reality remains, strictly speaking, the Defining the Real: It can magnify or neutralize the effectiveness of the elements of reality that the camera captures. Unfortunately, the demon of melodrama that Italian filmmakers seem incapable of exorcising takes over every so often, thus imposing a dramatic necessity on strictly foreseeable events.

Rather, it is specifically the rejection of the star concept and the casual mixing of professionals and of those who just act occasionally. No similar phenomenon exists in the historiography of other national cinemas.

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.

It is on the grounds of this dubious claim that Bazin connects the supposedly most proper Italian cinema — neorealism — to realist films made under the Regime. Every form of aesthetic must necessarily choose between what is worth preserving and what should be discarded, and what should not even be considered.

Since many of Bazihs reviewing colleagues, Truffaut, Jean-Luc Godard, Rohmer, Claude Chabrol, and Jacques Rivette among them, went on to direct their own films — and thus become the first generation of cineastes Defining the Real: Moreover, Chiarini was allowed to publish Bianco e Nero Black and Whitethe ansre journal that later became the official voice of neorealism.

Traveling and neodealism shots do not have the same god-like character that the Hollywood camera crane has bestowed on them. Email alerts New issue alert. The modes of the imaginary must be, in other words, connected to the plane of life.