The Film Theories of Bazin and Epstein
Shadow Boxing in the Margins of the Real
Bibliographic Data
| ID | 5159909 |
|---|---|
| Authors | T Jefferson Kline (0000-0001-5963-3118, corresponding author) |
| Year | 2013 |
| Volume | 36 |
| Issue | 1 |
| Pages | 68-85 |
| Publication date | 2013-03-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Paragraph (JOURNAL) |
| Journal identifiers | ISSN: 0264-8334 • E-ISSN: 1750-0176 |
| Publisher | Edinburgh University Press (PUBLISHER • GB) |
| DOI | 10.3366/para.2013.0078 |
| OpenAlex | W2019981123 |
| Language | EN |
| References cited | 2 |
When in 1958 André Bazin published the first volume of What is Cinema?, he was already recognized as French film's pre-eminent thinker. His position at Cahiers du cinéma and his influence on the young directors who were to launch the New Wave guaranteed his centrality and his influence. What is nevertheless surprising about this unparalleled success is how fundamentally conservative his writing was. His belief that 'true realism' constituted the ontology and the essence of cinema was remarkably out of step with the major philosophical movements of his time. Paradoxically, it was not Bazin but Jean Epstein who best explained and defined the modernity of cinema. A reading of Epstein's Le Cinéma du diable will allow us to appreciate just how paradoxical it was that it was Bazin and not Epstein who was 'selected' to present cinema to a France immersed in existential and post-existential thought
Aesthetics · Art · Art history · Epistemology · Existentialism · Linguistics · Literature · Modernity · Movie theater · Ontology · Psychoanalysis · Realism · Art, Politics, and Modernism · Cinema and Media Studies · French Historical and Cultural Studies · Philosophy · Psychology
| Highly cited | No |
|---|