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  • Bazin evolutionoftheLanguageofCinema

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    rosanerio
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    Book about the Language of cinema

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    Bazin.evolutionoftheLanguageofCinema

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    Book about the Language of cinema

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    © All Rights Reserved
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    14 visualizações10 páginas

    Bazin evolutionoftheLanguageofCinema

    Enviado por

    rosanerio
    Book about the Language of cinema

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
    de 10
    What 1 Cinema source of the cinema's invention. Thote who had the least coat ence inthe future of thlcineaa were prs te two Sadana ‘sts Eason end Lami Edson wat said with Jost his scope and if Lamire jodiiously refused to all his ptea 16 Mss it was undoubedly because e Boped to make a large profit out of efor himst, tut only 26 a -plagihing of which the’‘pube would tke As forthe rel savas euch sx Mey Wey WES Say lndirect ssitance to the cinema. They bad 9 specie purpose $a i rind and were sated when they had complied fe The i oats, the madmen, the disitereted pleaser, eapale, a8 rat Berard Palsy, of brning their uri fora fe seconds say Images, ares indstrtits noe saya, jst men obese by ‘hele own imignngs, The dinems sas bora foe ie comeing of these varios obgesions, tat ig to say of SU mth, the myth cf soul disema. Tis ikewie adSqatlycxplane the delay af Paton in apps the opts prise of the penne ofthe image on the retina, as abo the efauous prope of the sates of move meat & compared fact Is that esc erouton and indus ality requcements sod those ich gute early precede em. Thy theta cas 40 mit-onsthacigteral combustion engine belore descebing hafonie ray. Bot it Hed dal ie soal of everyman Sins he Gs OUP abou: Bes. Tp vom extent ne could ty the ‘me thing about the myth of einen, bukit foreuoners pie 19 the intenth cetury have only remet conection wit te smyth wich we share today and which has peompted the appear, nce ofthe mechanical at that characterize tod worl. 2 THE EVOLUTION. (OF THE LANGUAGE OF CINEMA By 1928 the alent fm had reached is artic peak. The despair of fits elite as they wimesed the dismantling of thi el cy, wile t ‘may not have been josied, Is atleast understandable. As they followed ther chosen sesttic pat it sexmed to them that the sinema had developed into an art mest perfesyaccommdsed to the “exquste embarrassment” of sence and thatthe rely that ‘sound would bring could only mean a sartendet fo chaos In point off, now tat sag has given peoot that t came not, to destroy bat to fulfil the Olé Testumet of the cinema, we may most propesy ak if he tecnial revolution created by the sound track wat in any Sense an aesetcreolton. In other words, did fhe year fom 1924 to 1930 actually wines fhe bith of a'new cinema? Cert, a représ eng, istry does not setualy show as wide a breach as might be expected between the sent end ‘the sound film, On the contery there is dtceribe eideoce of a lose slaortip between certain dizetor of 1925 end 1938 and cpecily of the 19405 though the 1950s. Compare for example ch von Stole ad Jean Renot o Orion Welle, or again Cat Theodore Dreyer and Robert Breton, These mote or less learctt Mints demonstrate fst ofall thatthe gap sepcaing the 1920% 2 Whet ts Cinema? : ‘nd the 1930% can be bridged, and secondly that cera caemitc Values actualy catty over from the let to the sound flay aad, shove ‘all hit it 8 lees mater of seting alee over apse sound than of contratng cet fae of sys, certain basally lerent concepts of cinematographic expression ‘Aare as Tam that the Eatin imposed on this tay restrit ‘me to sinplifed and to that extent efecled presentation of my ‘srgument, and balding it to be less an objective statement than & vesking hypothesis wil dstngish, inthe cinema betre=n 1920 ‘and 1940, beeen two boed and opposing tends those discon: wo pot thei fth inthe kage and thee who put tel a) In reali. By image” There meas, very broadly speakieg eveything thatthe representation onthe seen ads fo the ebect ete repre sented, This iw comple inertnce but it can be redwoed ex. ‘ly to wo eategorit: those hat eae tote lasts ofthe nage and thos tha slate to the resources of mania, whic, afterall simply the ordering of nage in tine ‘Under the hesdng “plastics” must be iacuded the site ofthe ft ofthe make-up, and, up to a point, even of the peformancs 10 hich we naturly add the Highing and, Sally, the framing ofthe shot which ges us its compotion jAe regards montage derived ‘nity 28 we all now ffom the mattress ot Grit, ve bare fhe statement of Malraux in his Prctooge du cinema tet i ws ‘sontge that gave birth fo fl as en art seting it apart fom mere ssimatedphotography-in shox. cresting langngs. ‘The ws of montage canbe “ivi” and ts was generally the ase inthe prewar clus of the American seen, Somes were broken down jst for one purpose, namely, to analyze an eplaode according 0 the material or dramate loge of the scene. ys loge which conceals the fat of the anal, th mind othe spec, {sor gite nary aceping the viewpoints ofthe dector wich, | Joti bythe geopraphy of the ation or the siting empha ‘€ dramatic interest, Bat the neural quslty of this “invisible editing fats to make ‘eof the fl potential of montage. On the other hand these potas Pa The Evolution of the Language of Cinema tines are clearly evident from the three processes generally known as parallel montage, agieecaed montage, montage by st ‘action, In resting parallel montage, Grifth succeeded in convey: | ing s seme of the simultanity of two actions taking place at 2 srographical distance by means of alternating shots ftom each. To a Rowe be Gace eed ian of th Healy noe speed of a locomotive without actually using any images of spee 1 Gndeed the wheel could have been turning on one spot) simply by! 4 multiplicity of hots of ever-deeresing length. | __ Billy there is “montage by attraction,” the eeston of $. M, | Beem, and not 0 cay ecb a8 te ots, but whieh may be roughly defined as the reenfocing of the meaning of ene image ‘by association with another image not necessarily part of the same episode—for example the fireworks display in The General Line following the image ofthe bul. In this extreme form, montage by || -mtetion was rarely used even by its creator but one may consider 4s very near to it in principle the more commonly used lips | comparison, or metaphor, examples of which are the throwing of || stockings onto chair atthe foot of «bed, othe milk overoving jn H.G. Clourots Quai des orfevres. There are of course a vatiety | +f posible combinations of thes thre processes. [Whatever these may be, one can say thatthe share that trait in | gcommon which constitutes the very definition of montage, namely, ine creation ofa sense or meaning not proper to the images them ives bat derived exclusively from thelr juxtaposition. The well ‘known experiment of Kuleshov, with the shoe of Mozhulhla in ‘whlch a smile was seen'to chan) ics sgnifcange according to the ‘image that preceded i, sums up perfectly the properties of montage sth event it allade to it Undoubedy they derived a est the treater part ofthe eanstvnt elements from the ea they were esting bat te final igsience othe fm was found to rede te the ondeving of these elements much more than in thelr objective } TRE meter wider ri, wht teri of he nda 2s ‘Montage at used by Keleshor, Enentin, or Gance did ot gine | | Wht ts Ciena lng, or ently rom te ratonipa—Mocuia pa? esd id fae py—hat ost a sac eu ne af the cece seme of which sete fed i ie pres ain pts apples nom sgl bop The coos inde Bot the ely ting tiny fein cmon he ft at Shy stepson ny ats neuro by ae enc of ea Tae betveca te sexi propery sod te me ‘leo theres end he nag ending, bn ey fon, 2 sr of sone “renener” The mea oe ingyen the show othe Inne pected y owas on 1 fell fcoucounen ct ewpcui 4X. ew sum sp Tog te comets of he image and the scree oot, the nem ha dap! a whe teal ‘ean whereby fo ips i iter fan tet ene fear By the nd of el fin wee es See {fave been One one ete Sov cena ced tt cate comequener the theory aod pase meage whe tie armen sc! dey tnd a ence te ase of he ing by way ost a hing ther cies cov fo bases | the Rasln od Geman, bt wher Pcs ee Sen oe | Unig State ee ot eps th he ann cs or tof nye eye wri ee to. 1 te wt of cole cost in ting tht pts and sosig oe gen aly ttt fm ws ene ot vm, Sound colon iy atts bord nd plone fy rare court foe rou! age Bait pole fhancenent—et teat oaly 8 nar ene ly te eh fh in conprion nth he eon! bust aly ‘ced tte ae ne by som t ‘Thus far we have put forward the view that ekpressionlsm of ‘montage and nage cinta the een of chess Aa tk teint on hs peely apd nt ht ces om eit Giys soc as Hkh yoo Seoiem FW. Marmm, and Robe 1 Pahcry, bv by iptaton cat ooo Ta fn, most 6 } The Evolution of the Language of Cinema ‘lays no part, unless it be the nega one of inetable elimination ‘where reaity superabounds, The camera cannot so eveything ‘ace butt makes sure nt to lose ay pat of wht t choose os What mae to Faery, confronts with Nanook entng the sea, 6 te felion between Narcok and the animal; the actu lenght of the waiting period. Montage cold saggetthe tine in volved. Faherty however confines hinself to showing the actual writing peciod; the length of the hunt isthe very substance of the mage tree object. Ths inthe fm ths epizoe requires one ee 1p. Wil anyone deny that ite thereby mech more moving thin | ‘montage by atrsction? "Morn is intrested fot so much Ia tine af ls the reaty of ‘aramatc space. Montage pays no more of 2 decisve part in [Novfera thn in Sovse, Ove might be inn to tink that the plastics of his age are impressions. Bot this wool be a super- fal view. The compotion o his image in no sen pictorl. It adds eshing tothe reality, it des not deform i it Fores it to evel it sucurl dept, 'to bing oot the peering estions ‘which beoine conte of the deat, For extmple in Tabu, the fea of a ship from let srcen gives an immediate sense af det tiny at works tat Maru has no need fo cheat in anyway on the uncompromising realism of «Sm whose setings are completely satura, ‘Bot itis most of all Suobsim who rejects photopraptic ex: prosonlu sed the bcks of montage. Ia his ns reality lye ft Dare tke suspect confessing under the reeatessexamiaation of the commissioner of police He has one simple role for discon, Take a close look a the word, Keep on doing so, and inthe end It vil ay bare for you alts eruety and its wines. One coud esly Imagine as a matter of fact afm by Strobe composed of «single shot a loping and as close-up as you like. These three diee- torr do pot exit the posites, We woold undoubtedly fad teatered among the Works of others element of nonexpressonit nema in which montage plays no part—even including Gri 7 Whet ts Chem? But these examples sc to reveal, at the very ear of the sent fim, a cinemntogrsphic art the very oppose of that which has ‘een Idetifed es “intra por excellence,” language the semantic " snd sytectical unt of Wich isin no see the St in wich the [imag is evaisted ot according to wht it adds to realty but what { i rveals of it I the later art th alenc of the acct wee a || dravbnct tat isto eay, It deprived reaity of one of i element }_ Greed tke Deyer's Jeane des lendy vitally a talking ms [The moment tht you cease to malotin that montage andthe | pls eomposion af the ings ce the very esence of the las | sts of cima, sound is no longer the aestierrane dividing \ te radia erent aspects ofthe seventh art. The clnema that buleved wo have ded ofthe soundtrack i inno sere “the ches ‘Te ral diving ne is eluewhere. It was operative inthe pa and confines to be though thirty-ve years ofthe history of the lane ag fea Having chenged the sestede nity of the sent fm and ‘iid it of ito two opposing fnfencie, now let tikes leak the history ofthe lat treaty year. From 1930 to 1940 there seems to ave growa wp in he wold, ‘tisinang ley in the Unltd Stats, «common form af coe, ‘ati lnguge. It wat the tumph in Hliyrood, Guing Wat tines ‘of five or six msjor kinds fm that gue i ts overwbelning fuperoty: (1) American comedy (Mr. Smith Goes to Washing ‘on, 1936); (2) The burlesque fim (The Mace Brotirs) (9) Tho nace and veudevile fm (Fred Axtire aad Ginger Roger a the Zogeld Folie); (4) The cme and ganptr fn (Searface, 1 Am 4 Fugisve trom a Chaln Gang, The Informer); (3) Pryeelosel and soil dramas (Back Street, Jezebel, (6) Hotor or fay Sins (Dr. etl and Mr Hyd, The Invisible Man, Franken), (F) The wetem (Steecoach, 1938). During that tine the French cinema undoubtedly, ranked nex. Is supecotty. was. gradally ‘aifésed by way of a tend towards what might be roughly 28 The Evolution of the Langage of Cinema cated sat somber enn oF pete ih foe ses Send ont ngs Feder Jean Reni, Masel Car aloe aviv yen et ng to de’ pe of rien, thre It tin Oligo te Sve Bis German, ot Tea Ss for wich hte pons were lr pint hae on {bat wert oT any ca, Ano ad Femsh rodeon ‘cy cary nt athe sun fis pi fo World War Tad rece welaeed ge mar. "int a o contest Major veer wih deny deed ies copie of peng a wove pa wes se ci, Proview ot ihre hse tie Soma ; Secony tr wolfe weldfaed sje of phorgaphy an ang peel adapt to tir jet mato conte had | ony of ings cod toyed. Yn eng api tiey sce Iezlel Winn Wer, Secon y Jen Pord, Le our 6 tive by Marl Carb one teen that nh ts fount pret tals, el form of exreion, a ec Cally on esto een ad merle och he Siena, wl may aot hte ceed them ak gee Pod te erie eine, that hy woul mt erie Be To Stor hee alle chase he entre dai 1am auc avare ht on can ata that he rg Gt te prea cna compre wth tof 1938 dees ftom the gow of cen satin sol in pte ede Zing Gyo he an cae ona ¢ ate gis Ces fd rm the Inns of yd. Frm his on might con hie thatthe realy important pbsoneten of the yea 1540- 1950 ite intadacen of now Bo, of ono. wesponed thence, That soy the rel etn tok pas mere oe Joel fsb mate than of Ir no orem pinay 3 Wind of imation sod ony indy nye of floral? | ‘Tone tt the ie hal, oo cay» formas | ‘alagument boone ety? | | What Ie Cinema (Our intention is certsily not to presch the glory of form ons fontet. Art for a's sake is juts heecalin aes eases, brobably more so. On the other hand, a now subject mater Je, mands new form, and as good way as any towards understnding 4 what mis uying to say tow i to now bow eis saying ‘Thus by 1938 ot 1939 the aking fin, patty in Prance and in the United Stats, bad reached level of clase peracton as 8 esl on the ne hind, of the mstrng of different Hinds of denon oveloped in pact oer the past ten years ein er inherited tom the silent fim, and, on th other, ofthe stblstion of tech rogres: The 1930' wer the yess, atone, of sound and of pan shromatic fm. Undoubtedly studio equipment had continued to Improve but only in mates of deta, none of them opening ip new, radical ponies for diction, The only changes in the siuntion since 1940 have been in photography, thank to the i cessed sensthity of the fl stock. Penchromatie sock ‘ined ‘smal values upside down, ulistenstie: emulsions have made a ‘modifstion in thi sructre posible. Fee to thot in the sig {ith much smaller aperare, the operstor coul, when necewery, inate the sot-forus background ence conidefed excatisl Sl there ares mune of examples af the pir we ef deep focus for ‘example inthe work of Jean Reaoi, This had atvays hen pose ‘n.exteror, and prea a meamure of skill even in he sation Anyooe could do it who really wanted to. So tt ii le ghee, { Son beicty of tecbalcl problem, the soluton of mich hes ‘sitedly teen made easier, than of serch ater yes point to which we wit come bac. Ta shor, with panchomis Bock in fommon we, with an understanding of th potent of the micro ‘hone, and withthe crane a standard studio equipment, cat can oily iy tat snes 1930 all the technical negiremen for te art of nea have ben avaliable, Sice the determining tecnial factors were practically line ‘ated, we must look elswhere for the sign and piace of the ‘vofution-of fm language, that isto ay by challenging the vp abd ats consequence the style necesay fori exjeatoa, The Evin ofthe Longe of Cinema 1999 the doen ha aed what opps el the scutes et ee, By bi mea at tel mae al ie ahh et i ee aa nn Having rescied tir eqitrom pie, te ser owe fly from spre toi mosh wits fer eepeing be Bur itm loge movement cea wiih aes the sroson lee and odie the Height fe sone, fhe water att werk tain, wpe note sounding ln ges Geger aroving td Giggng, Somes when i cult, afew pith i dig Sern the pli sin il bat flown to be con nd lad Ini on flows th fw of he wae, The Evolution of Editing since the Advent of Sound In 1938 there wasn almost univetl standard pattern of editing. 1, somewhat conventionally, we call the Kind of sent fe based fn the pases of the image and the aries off montage, “ex presi” cymbals” we ean describ the nem frm of sory feling “analyte” end “damatie” Let euppons by way of rv ing one of the Clements of the experinent of Kelestor, tat we Inve tlle covered with food and busgey tmp. One con ‘apie tat in 1936 it would have ben edited as follows (1) Fallabt of hb ator andthe tbl (2) Camera moves forvard ino a clore-up of a fice expressing mixture of amazement and longing. (8) Sete of cseaps of food. %. G) Back w fall shot of perton who stars slowly towards the (3) Camera pulls slowly back to a three-quarter shot of the tor seling 2 eicken wing ‘Whatever variants one cou think of for dis scene, they woud all ‘hve certain points in common: (4) The verhmiitade of «pace In which the potion of the a What te Cinema? 1 ‘ctor i always determined, even wh the door. (2)-The purpose and the eects of te eee Poe In other-vords, ithe scene were pl played on lage and gen from a SB he cin, Would fae he sn meting, fe ep

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