By Dudley Andrew
André Bazin, usually dubbed the daddy of the French New Wave, has had a massive impression on movie paintings. he's credited with virtually single-handedly setting up the research of movie as an permitted highbrow pursuit. The magazine that he based in 1951, Cahiers du Cinéma, continues to be the main influential archive of cinema feedback. He is still the most learn, such a lot studied, and most attractive figures ever to have written approximately movie. the previous couple of years have witnessed an enormous resurgence of curiosity in Bazin between critics, students, and scholars of each persuasion. His writings, a mainstay of movie conception classes, are actually discovering a spot at the syllabi of center classes in movie heritage, feedback, and appreciation. Andrew's highbrow biography is a landmark in movie scholarship.
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Additional info for André Bazin (Revised Edition)
Obviously Dudley Andrew is too young to have known Bazin, and yet he gave himself to his work for four years with such fastidiousness xlii FOREWORD that today, I am certain, he knows, better than any of those he interviewed, the character whose life he chose to retrace. You have to admit that relations between men who respect and love one another so much can often become inhibited by a great sense of modesty which keeps them from confiding in one another or talking much about themselves. Though I was the intimate friend of Bazin and became, you might say, his adopted son, until a time when I felt I was actually becoming a brother to him, I nevertheless knew only one part of his life.
La Rochelle is on the Atlantic coast just north of Bordeaux, an area rich in topographical and geological variety. An only child Bazin spent his days wandering in the forests, rock hills, river basins, and beaches of the region, collecting rocks and fossils. 3 At home with two of his many creatures T H E F O R M AT I V E Y E A R S He memorized the name of each new acquisition or discovery, a practice he extended to his animal collection. His mother recalls1 that the local zoo could not long satisfy him and so he transformed her balcony into a miniature jungle.
One philosopher in particular combined existentialism and committed Catholicism: Gabriel Marcel. ” I could sense his Heideggerian notion of “homo viator” in films like Bergman’s The Magician and Fellini’s La Strada. When I first came to Paris, in the fall of 1973, I arrived the day Gabriel Marcel died and I attended his memorial service at Saint-Sulpice, just to be able to sign my name on the registry. Only recently did I learn that Marcel and Bazin conducted a dialogue about cinematographic art, which was broadcast on radio in 1948.