cutting on the action

photography and film – facts, ideas, values

FILM THEORY BAZIN ~ Monsieur Hulot and Time



Monsieur Hulot and Time

by

Andre Bazin

translated from the French by Bert Cardullo. ? {1} or {2} {3 – books by}


August 30, 2010 Posted by | André Bazin, Bazin, film analysis, film theory, film [its techniques] | Leave a comment

FILM LINK Slow Cinema and the Long Take



To add to my collection of posts on the long take, one from Either/Or/Bored, titled, Slow Cinema and The Long Take.

Nagging feeling it is already mentioned in a previous post. What the heck.

Links in there to:  Top 15 Amazing Long Takes (and onwards to other film lists), Pasolini’s essay,  Observations on the long take, which must already be linked to somewhere else in COTA. Who cares, a blog is a searchable database, Mark le Fanu’s, Metaphysics of the “long take”: some post-Bazanian reflections, and to a film mag 16:9 essay by Mathew Flanagan, Towards an Aesthetic of Slow in Contemporary Cinema.  Also, the first pic I have seen of Bazin. Didn’t imagine him like that at all.

August 15, 2010 Posted by | Bazin, film techniques, film theory, film [its techniques], long take | , , | Leave a comment

FILM ESSAY GODARD Modifications and Expansions of Bazin’s “Faith in Reality” in the 1960s Works of Jean-Luc Godard



Modifications and Expansions of Bazin’s “Faith in Reality” in the 1960s Works of Jean-Luc Godard

by

Arnab Majumdar

August 19, 2008


April 21, 2010 Posted by | Bazin, Godard | , , | Leave a comment

FILM ESSAY Modifications and Expansions of Bazin’s “Faith in Reality” in the 1960s Works of Jean-Luc Godard by Arnab Majumdar





Modifications and Expansions of Bazin’s “Faith in Reality” in the 1960s Works of Jean-Luc Godard

by

Arnab Majumdar

August 9, 2008.



April 14, 2010 Posted by | Bazin, film [its techniques], Godard, New Wave, nouvelle vague | Leave a comment

FILM ESSAY LONG TAKE Metaphysics of the “long take”: some post-Bazinian reflections by Mark Le Fanu



Metaphysics of the “long take”: some post-Bazinian reflections

by

Mark Le Fanu

(author of The Cinema of Andrei Tarkovski [1987]; Mizoguchi and Japan [2005])

in

P.O.V no. 4

March 12, 2010 Posted by | André Bazin, Bazin, Classical American cinema, Eisenstein, European art cinema, Greg Toland, Griffith, Italian Neo-Realism, montage, Murnau, Renoir, shot length, Stroheim, the long take, Welles, Wyler | , , , , , , , , , , , , , , , | Leave a comment

FILM ESSAY The Emergence of Filmic Artifacts by Stephen Prince



The Emergence of Filmic Artifacts
by

Stephen Prince


Film Quarterly, vol 57, No 3, pp 23-33 ( 2004)


Abstract

The tools of digital filmmaking are transforming all aspects of cinema, including production, postproduction, and exhibition. In the process, they are altering the visual characterisitics of the moving image and changing the viewer’s perceptual understanding of the nature of cinema, leading to the emergence, for the first time in the medium’s history, of filmic artifacts.









Things get interesting from page 30 when the discussion turns to how digital video:

….”reads” a scene very differently than film does. One of the unmistakable hallmarks of DV is its clarity and depth of field. DV tends to record everything in deep focus and with extreme sharp focus, whereas varying degrees of shallow focus are the norm for images shot on film. Most shots have a limited focal plane, as determined by the speed of the film, the f-stop and the amount of light available. Even celebrated deep-focus films also include numerous shots where the focal plane is restricited. In contrast, DV produces deep focus as a kind of auto-default, and filmmakers working in the format studiously try to avoid this look.

Price wonders what Bazin, who advocated deep focus, would think of DV, suggesting he would have thought it good. But he then goes on to consider the paradox of film looking more alive than DV, despite being grainy. Films like Lawrence of Arabia, North by Northwest and Citizen Kane that have been digitally re-mastered for DVD have a very different feel from the film versions.

A few other important differences between film and digital are mentioned.

March 12, 2010 Posted by | Bazin, cinematography, digital exhibition, digital technology, digitisation, film postproduction, film production, film [its techniques], George Melies, Siegried Kracauer | , , , , , , , , , , , , , , , | Leave a comment

FILM Showing what can’t be filmed {post by David Borwell}



From Film Studies For Free:

Observations on film and Film Art: showing what can’t be filmed.

David Borwell, 4 March 2009, on David Borwell’s website on cinema.



March 22, 2009 Posted by | André Bazin, Bazin, cinéma-vérité, film analysis, Film and psychoanalysis, film directors, film editing, film narrative, film theory, film [its techniques] | , , , , , , , , , , , | Leave a comment