![]() ![]() ![]() ![]() He claims that the introduction of sound, far from destroying film as an art form, actually enhanced it as an essential element of reality.īazin makes a distinction between two different movements in silent film, one in which “montage and the plastic composition of the image are the very essence of cinema” and therefore in no need of support from sound, and another where the “image is evaluated not according to what it adds to reality but what it reveals of it”. 3 He feels that any manipulation of the image such as the suggestive editing developed by Eisenstein or the dramatic sets and lighting of German Expressionism stands in the way of releasing film’s true potential for realism. Although he admits that “it was montage that gave birth to film as an art” 2, he is apprehensive of anything that supports “the creation of a sense or meaning not proper to the images themselves but derived entirely from their juxtaposition”. In fact to Bazin, reality and everything that can support it such as sound, deep focus, and invisible editing, define what film should be. From the start he makes a distinction between “those directors who put their faith in the image and those who put their faith in reality”. In his article “The Evolution of the Language of Cinema”, he explains his theory that montage, although necessary in many cases to make a film work, can be heavily overused. Film critic Andre Bazin had very strong feelings on the subject of montage and realism. ![]()
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