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Andre Bazin :. |
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Toward a Synthesis of Cinema -A Theory of the Long Take Moving Camera, Part 1
This two-part paper uses Orson Welles The Trial (1963) as a model to explicate Brian Henderson's long take theory. Instead of arguing for or against Henderson's critical standpoint, it uses its classification scheme as a basis for a more thorough understanding of the theoretical gap that exists between the two institutional pillars of cinema, the exclusive theories of Sergei Eisenstein and Andre Bazin.
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Introduction to André Bazin, Part 1: Film Style Theory in its Historical Context
The first of a two-part essay on one of cinema's still greatest thinkers and writers.
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Re-thinking Bazin Through Renoir’s The River, Part 2
Part two of Younger's model analysis of the Bazinian discourse.
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Bazin and “The River” as a Problem in the History of Film Theory, Part 1
Younger presents an involved argumentation and defense of Bazin the critic, theorist, and historian par excellence. Far from the often perceived view of Bazin as an inconsistent or politically niave' writer, Younger presents a Bazin relevant and vital for the ages.Part two of Younger's model analysis of the Bazinian discourse.
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Re-reading Bazin’s Ontological Argument
For most film scholars Bazin was a man of many (incompatible) hats. Bazinian scholar Younger rethinks Bazin the Critic and Bazin the Theorist to argue otherwise.
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Introduction to André Bazin, Part 2: Style as a Philosophical Idea
The second of a two-part essay on one of cinema's still greatest thinkers and writers.
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