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written by Mohamed Benaziz
Mohamed Benaziz suggests to the Moroccan film critic to translate André Bazin's What Is Cinema.
In how does the output and structure reflect the director's point of view?
In his search for a response, André Bazan changed the proportions and paternity of the film from the screenwriter to his director. How ?
Andrei Bazan (1918-1958) defined the film as telling a story in pictures, with gestures with strong connections. The cadence function is an analysis of the event being narrated. Quotations are the work of the director and not the work of the scenarist.
Bazan traces the transition from painting and photography to the cinematic language of the flowing film crew, comparing the river and cinema when it speaks of depth, depth of the river and depth of the staff. In this section, Bazan talks about the cutting-edge revolution at Orsen-Wales (André Bazin Qu'est-ce que le cinéma? Cerf PARIS 2010).
Bazan contributed to creating the glory of the director of "Citizen Kane" (1941) among the lovers of the author's cinema, and did the same with Vittorio Di sica, the director of "The Bicycle Thief". The film of Di sika was mentioned twenty-seven times. Paisa's 1948 film Paisa told Rossellini 21 times. This has affected the glory of the three directors.
Bazan quotes John Cocteau: "Cinema is a keyhole event." Thus underscoring the importance of the viewpoint of those who see and its location. In his emphasis on the responsibility of the director demands an output invisible, that is, avoid exaggeration in the camera and cadres and editing. Bazan states that Montage is known as the essence of cinema.
According to Bazin , the director's position does not appear in adapting the facts and distorting them to what suits him, which gives artificial importance to the event, but shows the director's position in selecting the facts that serve his point of view. This sharp selection of the location of the camera is what makes every shot in the Italian film a masterpiece in itself, and becomes greater when it appears to be related to the footage that follows. Technical cutting serves this artistic direction.
This is a small sample of the richness of the writings of Basil, the first teacher of film criticism. A sample with cinematic content, not psychological and psychological content. Bazin does not speak about social reality, stereotype and psychological contract. He talks about the laws of narrative, and this approach is the result of a structural cultural context influenced by the epistemological coup that was created by linguistics Dossosur.
Linguistics came to criticism from the philosophers of philosophy and made a change in paradigmatic literary criticism. Where does this effect unfold?
French philosopher Michel Foucault in his book "fossils of knowledge" by saying:
"When it comes to language analysis, mythology, folk tales, poetic poems, dreams, literary effects, or even films, the structural description helps to highlight relationships that could not otherwise have been highlighted. It also allows the identification of elements of backwardness, The rules of construction, equivalence and the rules of analysis, and despite some reservations that were first recorded, we now accept without embarrassment that human language, feeling and imagination are subject to the laws of structure "(p. 181-1182).
Thus, according to Foucault, literary analysis no longer focuses on the study of the spirit of an age or the study of "groups", "generations" and "movements," not even the character of the writer and the interaction of his life with his "creativity," but on the structure of literary influence Book or text.
Thus, from the study of the ideology of art and its psychological and social dimensions to the study of the structure and time of creative work, the study of the text, whether linguistic or visual. I find an extension of Roland Barthes' approach to Cash Balancing, which spoke of a new literary poetry in his book Critique and Truth.
Bart says that the new poetic "does not seek to explain what individual works mean, but rather tries to show the pattern of improvements and norms that enable business to have its own forms and meanings."
The visual form is what Bazan means, and this has influenced the Cannes Festival, which is the structure of the output (la mise en scène).
The first teacher wrote more than 2,500 articles in fifteen years. The most important of these articles is published in the book "What is Cinema?" It can not be summed up because every chapter in it, but every page has a huge wealth.
for example?
From this, Gertrude Messari personally said, "Cinema absorbs novel techniques." This sentence shuddered me who read hundreds of novels. How does cinema absorb narrative narrative techniques? This is what he devoted ten years to study before publishing this article about Bazan.
for example?
Can you control the way out of one movie? Bazan talks about the reasons for the substantial success and reasons for the passing success of the film (p. 243). In all cases, the watch industry must be made. Affirms that the film is a movement, and the scenarist must create attractive situations. After the director begins work, the camera must follow the representative for a clear reason because the spectator wants to see the difficulties that will overcome the hero, and this makes interesting and waiting for permanent and constant surprises, without this will be dominated by boredom.
Bazan says the spectator cares about the character because of what happens to her. The director demands that the knowledge of the man in the street be taken into consideration. This will make it easier for the director to find an answer to the question: How do the spectators get out of the cinema and are in a better situation than the one they entered?
Bazan was a visionary of pioneer of cinema, contributing to the founding of the 1951 film "Cahiers du cinéma" and influenced the Cannes Festival. Bazan was the spiritual father of Francois Truffaut and of the new French wave.
Bazan not only analyzed specific films, but studied a whole stream, as in his excellent analysis of the new Italian reality in cinema, and concluded with specific features:
First, a structured scenario in which time control. It has a popular plot. In which the adoption of a story using the laws of oral cutting. A simple narrative, but presents human life on the edge of tragedy. Here, Bazan refers to Italian tradition. The story of Tarif is a brief and profound experience. (For example, the most famous example is the dakamiron 1349 of Buccachio, which is like Italian famous fable.
Second, to present a local reality with a universal dimension in a magical aesthetic form, realistic rather than reality. Realistic style is not a theme.
