The André Bazin Reader is the largest and most comprehensive edition of the work of André Bazin in English. It includes 40 articles from every full year of Bazin's career, a major introductory essay by film theorist Jacques Aumont, and extensive annotations by translator Timothy Barnard. No other English-language edition has brought together all the major texts the way the caboose volume has. The texts included here are also offered in their original version, as they were written and published in Bazin's day, before he or his posthumous editors revised and abridged them. Several have never before been translated. The volume includes brilliant essays on filmmakers of Bazin's day (Renoir, Welles, Hitchcock, Chaplin, Bresson, Malraux, Pagnol, Wyler); essays on film and literature, painting and theatre; on Japanese cinema and Italian neo-realism; documentary and science film; film genres (comedy, the western, children's films); film language and mise en scène; film history; television and new film technologies; exhibition and dubbing; and the 'politique des auteurs' and the role of the critic. Readers will also discover the essay "Découpage," which languished unread for nearly 60 years before the translator unearthed it. With the help of the translator's extensive critical glossaries, this volume restores Bazin's theory of découpage to his work and introduces it English-language film studies.
Table of Contents This Is Not a Theorist: Notes on André Bazin iii Jacques Aumont A Note on the Texts xlix Timothy Barnard 1943 For a Realist Aesthetic3 1944On Realism5 1945 Ontology of the Photographic Image9 Espoir: On Style in the Cinema17 1946The Myth of Total Cinema and31 the Origins of the Cinématographe 1947The Technique of Citizen Kane41 The Science Film: Chance Beauty49 1948Cinematic Realism and the53 Italian School of the Liberation William Wyler, the Jansenist of Mise en scène83 Orson Welles' Contribution109 Landru?Charlie?Monsieur Verdoux117 Adaptation, or the Cinema as Digest153 1949Beyond The Walls of Malapaga:163 René Clément and Mise en scène Cinema and Painting169 1950Doublé or Not Doublé179 1951Depth of Field, Once and for All183 Diary of a Country Priest and Robert Bresson's Stylistic System190 Theatre and Film (1)211 Theatre and Film (2)231 Death Every Afternoon261 1952French Renoir267 Découpage287 For an Impure Cinema: In Defence of Adaptation309 1953The Real and the Imaginary335 No Script for Monsieur Hulot341 1954Hitchcock versus Hitchcock349 Letters from My Windmill and363 the Case of Marcel Pagnol 1955Symposium: New Film Technologies369 Small Cause, Great Effects: Is the Continuous Show373 the Reason for the Evolution of the American Crime Film? Japanese Cinema's Lesson in Style377 A Little Late . . .383 Cinema Revealed by Animal Films389 Cinemascope Slaughter393 1956A Bergsonian Film: The Picasso Mystery401 The Gold Rush409 Assembly Prohibited413 1957On the 'Politique des auteurs'421 A Week Devoted to the Western439 The Western, Loved Scornfully, is 445 the Lyric Form of American Cinema 1958The Perils of Perri449 'The Soldier's Tale' or Theatre 'Squared'455 Thoughts on Film Criticism457 Glossary of Terms469 1. General Terms470 2. Découpage472 3. Montage493 4. Mise en scène515 5. Technique532 6.Fait552 Acknowledgements561 Name index563 Title index571