Opening Bazin

Postwar Film Theory and Its Afterlife

By: Dudley Andrew (Editor), Herve Joubert-Laurencin

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Paperback | 1 April 2011

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464 Pages

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25.4 x 17.78 x 2.01

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With the full range of his voluminous writings finally viewable, Andre Bazin seems more deserving than ever to be considered the most influential of all writers on film. His brief career, 1943-58, helped bring about the leap from classical cinema to the modern art of Renoir, Welles, and neorealism. Founder of Cahiers du Cinema, he encouraged the future New Wave directors to confront his telltale question, What is Cinema? This collection considers another vital question, Who is Bazin? In it, thirty three renowned film scholars--including de Baecque, Elsaesser, Gunning, and MacCabe--tackle Bazin's meaning for the 2st century. They have found in his writings unmistakable traces of Flaubert, Bergson, Breton, and Benjamin and they have pursued this vein to the gold mine of Deleuze and Derrida. They have probed and assessed his ideas on film history, style, and technique, measuring him against today's media regime, while measuring that regime against him. They have located the
precious ore of his thought couched within striations of French postwar politics and culture, and they have revealed the unexpected effects of that thought on filmmakers and film culture on four continents. Open Bazin; you will find a treasure.

Industry Reviews

"This amazing collection, whose contributors are some of the most distinguished contemporary film scholars, rescues Bazin from the ossified stereotypes that have come to define him in film pedagogy--realism vs. formalism, depth of field vs. editing, humanism vs. Marxism. It sheds light on the complexities and intricacies of the Bazin oeuvre in all its diversity and delineates the ways in which his work illuminates the definitive impact of film as an art in the 20th century."--Mary Ann Doane, Brown University "Elegantly moving across disciplines, history, theory and geography, the essays in Opening Bazin construct an invaluable and vivid picture of Bazin as film theorist, film critic and engaged intellectual. It seems throughout to amount to more than the study of one man. However its richness and diversity is derived from those qualities in Bazin himself, so just as the book transcends its subject, he himself returns not only as its generative figure but also as an emblem of the peculiar and elusive nature of the cinema itself."--Laura Mulvey, Birbeck, University of London

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