![]() Swan Lake is a dance that possesses, like most drama, an informational structure modern dance, by contrast, is made of segments that are not integrated into a totality but are self‐contained units. Performance artists often distinguish between works or pieces that have a compartmental structure and those that have an informational structure. In the 1981 French restoration, this scene comes quite early, which suggests Sartre may have seen a severely truncated version of the film, 4 years before the notorious American re‐release of 1935.ħ. Berkeley: University of California Press. “ The virtues and limitations of montage.”. This is Bazin's criticism of Alfred Hitchcock's Rope: ‘I would say that Hitchcock's Rope could just as well have been cut in the classic way whatever artistic importance may be correctly attached to the way he actually handled it’ ( 1967b Bazin, André. The essay in which Bazin refutes the myth that the cinema ‘is believed to have died of the soundtrack’ is ‘Le decoupage et son evolution’, published in L'age nouveau (no. 93, July 1955).ĥ. It is this piece that contains Bazin's ideas about the importance of deep focus. ![]() ‘The Evolution of the Language of Cinema’ is actually a compilation of three earlier essays, including a piece Bazin contributed to the inaugural issue of Cahiers du cinéma, entitled ‘Pour en finir avec la profondeur de champ’ (no. 1, April 1951). My thanks to Dudley Andrew for helping me locate the true source of the passage.Ĥ. The major film theories: An introduction, New York: Oxford University Press. This passage is mistakenly attributed to Bazin in Dudley Andrew's The Major Film Theories: An Introduction (New York: Oxford University Press, 1976 Andrew, Dudley. ![]() ‘Non moins important nous semble ce passage qui, concernant la poesie, nous parait s'appliquer mieux encore au cinema, dans la mesure ou le fonctionnement meme de la camera repond aux dernieres lignes du fragment qu'on va lire et auquel repondrait un texte celebre d'Andre Bazin’ (8–9).ģ. The counterpoint film, then, was meant to achieve a non‐naturalistic relation of sound and image.Ģ. ‘Sound used in this way,’ so the ‘Statement’ on sound goes, ‘will destroy the culture of montage, because every mere addition of sound to montage fragments increases their inertia as such and their independent significance this is undoubtedly detrimental to montage which operates above all not with fragments but through the juxtaposition of fragments’ (371). Counterpoint was simply one of many concepts used, as analogy, to counter naturalist tendencies in cinema – specifically, the use of synchronous sound. For the Soviets, counterpoint wasn't meant to be the guiding principle in the composition of a film's score. It should be stressed, however, that actual contrapuntal music was not used in the early sound films of the Soviets.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |