加入VIP
  • 专属下载特权
  • 现金文档折扣购买
  • VIP免费专区
  • 千万文档免费下载

上传资料

关闭

关闭

关闭

封号提示

内容

首页 *应求重贴*【巴赞】什么是电影第一卷

*应求重贴*【巴赞】什么是电影第一卷.PDF

*应求重贴*【巴赞】什么是电影第一卷

九月虺
2009-10-05 0人阅读 举报 0 0 暂无简介

简介:本文档为《*应求重贴*【巴赞】什么是电影第一卷pdf》,可适用于人文社科领域

WHATISCINEMAVOLIbyANDREBAZINforewordbyJEANRENOIRnewforewordbyDUDLEYANDREWessaysselectedandtranslatedbyHUGHGRAYUNIVERSITYOFCALIFORNIAPRESSBerkeleyLosAngelesLondonUNIVERSITYOFCALIFORNIAPRESSBerkeleyandLosAngeles,CaliforniaUNIVERSITYOFCALIFORNIAPRESS,LTDLondon,England©,bytheRegentsoftheUniversityofCaliforniaLibraryofCongressCataloginginPublicationDataBazin,AndredcWhatIsCinemabyAndreBazin,withaforewordbyJeanRenoir,withanewforewordbyDudleyAndrew,essaysselectedandtranslatedbyHughGraypcmIncludesbibliographicalreferencesandindexISBN(vI:alkpaper)IMotionpicturesITitlePNManufacturedintheUnitedStatesorAmericaJThepaperusedinthispublicationmeetstheminimurrirequirementsofANSIINISOZ(R)(PermanenceofPaper)eFOREWORDbyJeanRenoirINTHEDAYSwhenkingswerekings,whentheywashedthefeetofthepoorand,bythesimpleactofpassingby,healedthoseafflictedwithscrofula,therewerepoetstoconfirmtheirbeliefintheirgreat­nessNotinfrequentlythesingerwasgreaterthantheobjectofhissingingThisiswhereBazinstandsvisavisthecinemaButthatpartofthestoryhastodoonlywithwhatliesaheadWhatisgoingonnowissimplytheassemblingofmaterialsCivilizationisbutasievethroughtheholesofwhichtherepassesthediscardThegoodremainsIamconvincedthatinVillon'sdaypoetsaboundedonthebanksoftheSeineWherearetheynowWhoweretheyNooneknowsButVillonistherestill,largeaslifeOurchildrenandourgrandchildrenwillhaveaninvaluablesourceofhelpinsortingthroughtheremainsofthepastTheywillhaveBazinalongsidethemForthatkingofourtime,thecinema,haslikewiseitspoetAmodestfellow,sickly,slowlyandprematurelydying,heitwaswhogavethepatentofroyaltytothecinemajustasthepoetsofthepasthadcrownedtheirkingsThatkingonwhosebrowhehasplacedacrownofgloryisallthegreaterforhavingbeenstrippedbyhimofthefalselyglitteringrobesthathamperedvForeworditsprogressItis,thankstohim,aroyalpersonagerenderedhealthy,cleansedofitsparasites,fineddownakingofqualitythatourgrandchildrenwilldelighttocomeuponAndinthatsamemomenttheywillalsodiscoveritspoet'heywilldiscoverAndreBazin,discovertoo,asIhavediscovered,thatonlytoooften,thesingerhasoncemorerisenabovetheobjectofhissongThereisnodoubtabouttheinfluencethatBazinwillhaveintheyearstocomeHiswritingswillsurviveevenifthecinemadoesnotPerhapsfuturegenerationswillonlyknowofitsexistencethroughhiswritingsMenwilltrytoimagineascreen,withhorsesgallopingacrossit,acloseupofabeautifulstar,ortherollingeyeofadyinghero,andeachwillinterpretthesethingsinhisownwayButtheywillallagreeononething,namely,thehighqualityofWhatisCinemaThiswillbetrueevenshouldthesepagessavedfromthewreckagespeaktousonlyofanartthatisgone,justasarchaeologicalremainsbringtolighttheobjectsofcultsthatweareincapableanylongerofimaginingThereis,then,nodoubtastoBazin'sinfluenceonthefutureLetmesayhoweverthatitisforhisinfluenceonhiscontemporariesthatIholdhimsodeepinmyaffectionsHemadeusfeelthatourtradewasanobleonemuchinthesamewaythatthesaintsofoldpersuadedtheslaveofthevalueofhishumanityItisourgoodfortunetohaveHughGrayasthetranslatoroftheseessaysItwasadifficulttaskHughGraysolvedtheproblembyallowinghimselftobecomeimmersedinBazinsomethingthatcalledforconsiderablestrengthofpersonalityLuckilyalikeforthetranslator,fortheauthor,andforus,BazinandGraybelongtothesamespiritualfamilyThroughthepagesthatfollowtheyinviteus,too,tobecomeitsadoptedchildrenviCONTENTSForewordtotheEditionIXIntroductionTheOntologyofthePhotographicImageTheMythofTotalCinemaTheEvolutionoftheLanguageofCinemaTheVirtuesandLimitationsofMontageInDefenseofMixedCinemaTheaterandCinemaPartOnePartTwoLeJournald'uncuredecampagneandtheStylisticsofRobertBressonCharlieChaplinCinemaandExplorationPaintingandCinemaNotesIndexFOREWORDTOTHEEDITIONByDudleyAndrewINTHETOUCHINGforewordwithwhichJeanRenoirgracedthistranslationofWhatisCinemathirtyfiveyearsago,heconjuresupcivilization'smurkypastanditsmurkierfutureWhenhistoryhashaditsdevastatingway,hewriteswhennoisypeople,problems,andeventshaveerodedandpassedthroughthe"sieve"ofmemoryintoobliviontherewillstillremainthoserockhardformulationsofgreatpoets,whichoutlasteventhesubjectsthat·occasionedtheirverseBazin'sessaysaresuchgemsBazinisindeedcinema'spoetlaureate,orbetter,itsgriotFullofpraisepoemsandaphorisms,hisessaysemblazoncinema'shistoryanditspossibilitiesinlapidarylanguagethatremainsunmatchedinbothprecisionandluminescenceYetBazinwouldhavelaughedatthispreciousgemologicalmetaphor,ashisPrefacetoQu'estcequelecinemamakesclearThebulkofwhathehadproducedcarneoutinnewspapersandpamphlets,hesaid,usefulmainlytofuelthefireplace"Thehistoryofcriticismbeingalreadysuchaminorthing,thatofaparticularcriticoughttointerestnoone,certainlynotthecritichim­selfexceptasanexerciseinhumility"Yetinthelastyearofhislifehesiftedthroughthenearlythreethousanditemshehadwrittenforpublicationinordertofindthosekeypieces(sixtyfiveofthem)thatixWhatisCinemasignaledsomethinglargerthantheparticularexigencyunderwhichtheywerepennedEachselectionaddressesthequestionwhichinhomagetoSartre'sgreatessayonliteratureheposedastitletohisfourpartcollection:"WhatisCinema"WasitthispresumptuoustitlethattemptedGlenGosling,aneditorattheUniversityofCaliforniaPress,toenvisageanEnglishtransla­tionofBazinHehadbeenlookingtofollowupRudolfArnheim'sFilmasArt,whichhehadbroughtoutinGoslingworkedoutoftheLosAngelesoffice,whereheoftenranintoHughGray,whowasonFilmQuarterly'seditorialstaffGrayhadbeenascriptwriterinbothEnglandandAmericabeforehebeganteachingaestheticsatUCLA,apositionthatincludedservicewithFilmQuarterlyItwashisknowl­edgeofBazin'swritingsandofBazin'sreputationinFrancethatledtotheprojectAgenerationolderthanBazin,Grayneverthelesssharedhisphilosophicalorientation,evidentinthetheologicaldefensehemakesinhisintroductionAnelegantconversationalistandstylist,hewassensitivetoBazin'scleverprose,whichhestrovetodeliveringracefulEnglishIt'snotclearhowmuchofBazin'soriginalGrayproposedtoin­clude,butGoslingsurelymeanttokeepthevolumesleek,restrictingitmainlytoarticlesdealingwithfilmsfamiliartoAmericansTheyset­tledontenessaystakenfromthetwentyfivethatmakeupthefirsttwoofthefourvolumesBazinhadlaidoutAftersurprisinglygoodsales,GraywasencouragedbyErnestCallenbachtoprepareWhatisCinemaVolumeII,sixteenmorepiecesselectedfromthefortythatcomprisethelasttwovolumesoftheoriginalFrenchWhileanyexci­sionmayseemsacrilegious,Bazin'sFrenchpublisherswouldinfactcutnearlythesameamountwhentheybroughtouttheirsinglevolume''c�ditiondefinitive"inHismodestynotwithstanding,BazinmightwellhavebristledatthisstreamliningInhisownshortprefacehejustifiedtheinclusionofbriefpiecesonforgottenshortsubjects(likeDeathEveryAfternoonandGide)whichGrayfoundexpendableandarenolongertobefoundintheFrenchcollectionHeclaimedtheyserveassupportingxForewordtotheEditionstonestohelpbeartheweightytheoreticaledificeNordidhewanttofoldthemintooneofthelongeressays(though"EvolutionoftheLan­guageofCinema,""TheVirtuesandLimitationsofMontage,"and"CinemaandPainting"areindeedcompilations)Theidiosync�asiesandimperfectionsofsomeoftheessays,hefelt,arewhatgivethemcharacterand,asisthecasewithconcrete,acertaintensilestrengthHereBazingivesawayhissecret:heregardshisownessaysthewayhefeelsacriticshouldtreatfilms,elaboratingtheirloftynarrativeandthematicproblems,yetattendingsympatheticallytothecontingenciesandimpuritiesthatmadethemfittingexpressionsintheirhistoricalmomentAsamedium,cinemabegsexactlysuchdoublevision:thenatureofphotographytiescinema'shugeambitionstohistoricalandmaterialcircumstancesThuscinemashapednotonlyBazin'sthoughtabouthisvocationbutalsohisverymannerofthinkingIINooneunderstoodthisbetterthanEricRohmer,whohadpreparedabrilliantreviewofQu'estcequeIecinemaforCahiersduCinemaonlytoseeitpublishedasaeulogywhenitcameoutjustweeksafterBazin'sdeathEntitled"AndreBazin's'Summa,'''Rohmer'stitlein­vokesThomasAquinas,suggestingamagisterialcommandofadi­versesetofquestions,organizedhierarchicallyandansweredfromfirstprinciplesRohmerappealstoBazin'sorganizationofthefourlit­tletomes:VolumeOnetreatscinema'sinternallifeprinciplesits"ontology"andits"language"VolumeTwoapproachescinemafromtheoutsideasa:surveyormight,triangulatingitssituationonthecul­turallandscapeamongsttheotherartsVolumeThreeturnstopatentlycontextualissues,subtitledasitis"CinemaandSociology"VolumeFourisreservedforacasestudyofneorealism,themostimportantde­velopmentinsoundcinemaandamovementthatratifiedandcon­tributedtohisunderstandingofthemediumRohmerinsiststhatBazindidnothastilyimposethisorderfromxiWhatisCinemahisdeathbed,searchingforthemainthreadsofalife'soutputRather,hecarriedaluciddesignwithhimthroughouthiscareer,adesignthatprogressivelyexpressedandclarifieditselfincontactwithwhateverhistorybroughthimSergeDaneywouldvividlyratifythispoint:BadcineasteshavenoideasgoodcineasteshavetoomanyButthegreatcineasteshavejustoneideaSuchanobsessiveideastabilizesthemontheirway,yetguidesthemintoevernewandinterestinglandscapesAndwhataboutgreatcriticsThesamewouldholdtrueforthem,iftherewereanyAllcriticsfadeintimeexceptforoneBetweenandAndreBazinwasthatoneHisideefixewastoshowthatbeforesignifyingitorresemblingit,cinemaembalmedthereaPThehundredsoffilmreviewsthatBazinpatientlywroteyearafteryearwereanimatedbyhisfixationwithcinema'sspecificallyphoto­graphiccapabilityHistorytherebyvalidatedthecoherenceofatheo­reticallineyetandthisiscrucialhistoryalsoextendedthatlineFor,intheSartreanvocabularyofthosetimes,Bazinheldthat"cin­ema'sexistenceprecedesitsessence"because"contingencyisalsoanecessaryqualityoffilm"Newfilms,nomatterofwhatquality,ledBazintonewformulationsaboutcrucialfeaturesofthemediumRohmercanmakeBazinsoundquitelikeGillesDeleuze,asathinkerobsessedwithcreatingnewconceptsRohmersays,"Thepurposeofeachnewarticleisnottocompleteorclarifyathoughtthatwaspar­tiallyexpressedelsewhereoreventooffermoreconvincingexamplesRather,itadds,itcreatesanewthoughtwhoseexistencewehadnotsuspectedItgiveslifetocritical'entities,'justasthemathematiciangiveslifetonumbersortheorems"ButwhereDeleuzewouldcham­pionselfgeneratingmathematical(andfilmic)systems,Bazin,atleastasRohmerportrayshim,unswervinglydevelopedarealistsystemLike"Euclid'sstraightline,"photographicreferenceservesasthissys­tem'sfirstaxiom:fromit,thetheoristmayderivecorollariesandfar­flunghypothesesxiiForewordtotheEditionBazinformulatedthisprincipleasearlyaswhilefirstturningoutmoviereviewsinamimeographedstudentnewsletterTwentyfiveyearsold,reboundingfromhavingjustbeenblockedfromteachingbecauseofastammer,heannouncedtohisfriendsthathecouldfore­seemakingalifewritingaboutfilmheaimedtoproduceahistoryandanaestheticfoundedonthesocialpsychologyofthispopularmediumWheredidBazinacquiretheinspirationandtheconfidencetoprojectafullblownreorientationoffilmtheoryHehadasamodelthe"littleschoolofthespectator"thatRogerLeenhardthadcomposedinthethirtiesforEsprit,thePersonalistjournalthatwouldsoondisseminateBazin'smostprominentessaysLeenhardt,asociallycommittedintellectualandcineaste,claimedarealistaestheticthatBazinfoundtheonlysignificantapproachtomodern(iesound)cin­emaItwastoLeenhardtandtoFrancroisTruffautthatinBazindedicatedhiscollectedworks:thefirstmanrepresentinghisheritage,thesecondhislegacyLeenhardtmetBazinfrequentlyatthecinecluboftheMaisondesLettresthatBazinhelpedfoundinneartheSorbonneOneoftheirdiscussionsconcernedAndreMalraux's"SketchforaPsychologyoftheCinema,"whichappearedinVerve's"wartimeissue,"previewingthecelebratedPsychologyofArtBazin,whobelongedtoaMalrauxstudygroupattheMaison,wasdeeplytakenwiththisdashingscholar,alreadyaResistancelegendJustafterthewarthetwomenjoustedoverthe"cinematiclanguage"thatMalrauxdeployedinEspoir,releasedin,althoughfinishedinMal­rauxgraciouslyconcededthatBazinprovidedbyfar"themostingen­iousandattentive"responsetohisfilmThentherewasJeanPaulSartre,anotherlegendoftheOccupationyears,whofromtimetotimewouldshowupclandestinelyatBazin'scineclubtoseewhatelseGermansilentfilms!Sartre'sBeingandNothingnessappearedatjustthismoment,butitwashisearlierPsy­chologyoftheImagination(),withitsphenomenologyofpaint­ingandphotography,thatBazinimmediatelyboughtandannotatedSAlthoughBazinadoptedfromhisintellectualheroesasetofcon­cernsandastyleofthinkingandwriting,heseldomtookuptheirpoxiiiWhatisCinemasitionsOnecanfeelbothSartreandMalrauxhoveringatthebordersof"TheOntologyofthePhotographicImage,"yetthismagnificentes­sayisallBazinItisoneofthemostfarreachingandsuggestivees­sayseverwrittenontheimagehisoeuvrecanhardlybeimaginedwithoutitApearlsecretedwithinhimthroughouttheOccupation,theessayreceivedafirstchanceatpublicationwheninthearthistorianGastonDiehlcommissionedBazintocontributetoanambi­tiousspecialissueofConfluencescalledLesProbLemesdeLapein­tureJOHewassurelyproudtobeincludedalongsideCocteau,Stein,Desnos,Rouault,Matisse,andBraque,andwithinthebravelyleftistseriesConfluencesthatwasstrugglingtomakeitthroughthewarinLyonInfact,Bazinhadalotoftime,perhapsaslongasayear,tore­finehiscontribution,sincethepublishinghousethatprintedConflu­encesbydayalsobroughtouttheResistancepublicationTemoignageChretienbynightTwoweeksbeforeDDay,thepublishingofficewasraidedbytheGestapo,anditsdirectorsentofftohisdeathWiththepressshutdown,andwithseveraloftheprojectedcontributorshavinggoneintotheactiveResistance,DiehlandReneTavernier(editorofConfluencesandfatheroffilmmakerBertrandTavernier)determinedtoholdtheissuetillthewar'sendByBazinhadhonedhiseightpagestoperfectionandhadstartedtoelaboratetheirconsequencesMorethanagemtobead­mired,andmoretoothanjustasupportingstone,itbecamethecorner­stoneofhisviewofwhatcinemawasandcouldbeAndyet"TheOntologyofthePhotographicImage"behavesstrangelyascinema'sfoundationFirstofall,itconcentratesonphotographyandseldommentionscinema(Thefinal,startlingsentenceaboutcinema,whichmimicstheconclusionofMalraux's"Sketch,"wasaddedbyBazinin)Secondly,theessay'smemorableopeningdeflectsinquiryawayfromontologytoontology'snemesis:"Iftheplasticartswereputun­derpsychoanalysis,thepracticeofembalmingthedeadmightturnouttobeafundamentalfactorintheircreation"Apparently,tounderstand"whatcinemais,"atleastinthemilieuofSartre,onemustunderstandnottheontologysomuchasthepsychologyatplaybehindtheexperixivForewordtotheEditionenceofimages,anexperiencethatMalrauxwasjustthendemonstrat­ingtobemoreculturalthanpersonalAtonetimeforinstanceinan­cientEgypthumanbeingsevidentlybelievedintheontologicalidentityofmodelandimageButfewinourWesternculturebelievethisanymoreImagestodayarethoughttoservesymbolicandaes­theticfunctions,notmagicalonestheysignifywhatisimportanttocultureandtheydosoinstylesthatdisplayvaluesNevertheless,evensophisticatedordecadentcultureshavebeenfascinatedbythepossi­bilityofduplicatingappearancesandtherebypreservingwhatnatu­rallydecaysintimeHenceBazin'sconclusion:"Ifthehistoryoftheplasticartsislessamatteroftheiraestheticthanoftheirpsychologythenitwillbeseentobeessentiallythestoryofresemblanceor,ifyouwill,ofrealism"Theinventionofphotographyinthenineteenthcenturyconstitutesthe"mostimportantevent"inthishistory:ashiftinthematerial,onto­logicalbasisofimagesforcedareconfigurationofaestheticsandpsy­chologyintheevervariable"balancebetweenthesymbolicandrealism"Thetensionbetweentheseterms,whichtraditionallymarkthelimitsofthefunctionsofimages,existsbothinphotographyandinpaintingbutindifferentratiosThistensionalsoseparatesthetwotraditionsthatviefordominanceinBazin'sviewoftheevolutionofthecinema,betweenthosefilmmakers"whoputtheirfaithintheim­ageandthosewhoputtheirfaithinreality"Bazinisoftenprematurelyaccusedofbeingaproponentofareal­iststylebutrealismtohimisnotprimarilyastylisticcategoryItisanautomaticeffectofphotographictechnologydrawingonanirra­tionalpsychologicaldesireAshepointsout,foralongtimeafterthebirthofphotography,oilpaintingremainedsuperiorinproducinglike­nesses"AveryfaithfuldrawingmayactuallytellusmoreaboutthemodelbutitwillneverhavetheirrationalpowerofthephotographtobearawayourfaithHencethecharmoffamilyalbums"Thewayanimagecomesintobeing,then,swaysthewaywetakeitin,sothatinapsychologicalratherthanastylisticsensephotography"satis­fiedourappetiteforillusionbyamechanicalreproductioninthemakxvWhatisCinemaingofwhichmanplaysnopart"ExactlywhatBazinthinksaboutthis"appetiteforillusion"isdebatableThephotographrecoversth

用户评价(0)

关闭

新课改视野下建构高中语文教学实验成果报告(32KB)

抱歉,积分不足下载失败,请稍后再试!

提示

试读已结束,如需要继续阅读或者下载,敬请购买!

文档小程序码

使用微信“扫一扫”扫码寻找文档

1

打开微信

2

扫描小程序码

3

发布寻找信息

4

等待寻找结果

我知道了
评分:

/41

*应求重贴*【巴赞】什么是电影第一卷

仅供在线阅读

VIP

在线
客服

免费
邮箱

爱问共享资料服务号

扫描关注领取更多福利