Hence Bazin’s famous prohibition of montage: “When the essence of a scene demands the simultaneous presence of two or more factors in the action, montage is ruled out.” (9) The genuine suspense in Where No Vultures Fly (Harry Watt, 1951) emerges with parents, child and lioness all in the same full shot, just as in Nanook’s hunting seal and Chaplin’s being in the lion’s cage. “La Grande aventure”, Vol. The effect is that the human spectator can be inside the animal conscience and become the very ontological other. The Cinema of Cruelty: From Buñuel to Hitchcock, Jean Renoir: Periodos, Filmes y Documentos, Bazin at Work: Major Essays and Reviews from the Forties and Fifties, French Cinema of the Occupation and Resistance: The Birth of a Critical Esthetic. (12). 50-3. Rossellini is concerned to preserve its mystery.”. From this life we are just a grain abandoned with some others on the ocean beach. 106 (22 May 1952). This becoming-other in (3) goes well beyond identifying with a visible entity or resembling another unified organism as in (1); it rather deterritorializes our subjective unity into the most fundamental ground of intersubjectivity or asubjectivity that has already been waving in our deep inside. The animal otherness is only exploited and fabricated visually in this sensationalist semi-romantic documentary. Seung-hoon Jeong is a PhD candidate in Film Studies & Comparative Literature at Yale University. How does the former ban, defeat, abandon, or legitimate, domesticate, territorialize the letter? 2371 (28 April 1952). It starts with the sharp criticism of Scott of the Antarctic (Charles Frend, 1948), a studio work “to imitate the inimitable, to reconstruct that which of its very nature can only occur once, namely risk, adventure, death” (24). With annotations by translator Timothy Barnard, this became the only corrected and annotated edition of these writings in any language. (33). Knowing that its location is not the Antarctic may then frustrate the viewer’s investment of belief, unlike White Mane and The Bullfight in which knowing the trick does not break our belief in the real. The foxes and otters were “no longer tamed but familiarized” (13). Bazin’s articles touching directly or indirectly on animals, especially in adventure films, allow us to relocate these questions on various levels. A stroke of tail and we would go down with the camera to the bottom of 6,000 or 7,000 meters. André Bazin (French: [bazɛ̃]; 18 April 1918 – 11 November 1958) was a renowned and influential French film critic and film theorist. He advocated the use of deep focus (Orson Welles),[9] wide shots (Jean Renoir) and the "shot-in-depth", and preferred what he referred to as "true continuity" through mise-en-scène over experiments in editing and visual effects. 1945 ... and you can go into it. No doubt the animal is a metonymy of what it befriends, i.e. In brief, the whole Bazin work on animals could be titled: ‘De la difficulté d’être cinéma.’. “Les Implacables: De l’amour et des vaches!”, Vol. Couldn’t we see here Bazin’s ontology of the photographic image evolving into the ontology of the cinematic découpage? Here, ‘blowing up’ this photographic image à la Michelangelo Antonioni would only confirm its “para-indexicality” that indicates the “para-ontological” state of the animal, since the whale is part of the sea. (1) That bird’s linguistic ability was no consideration for the authorities of France, a psittacosis-phobic country in which the parrot became fraudulent and contraband.

“Crin Blanc [in Crin blanc: le cheval sauvage (White Mane, Albert Lamorisse, 1953)] is at one and the same time a real horse that grazes on the salty grass of the Camargue and a dream horse swimming eternally at the side of little Folco.” (6) For this chiasma of the real and the imaginary, such a trick as using several horses for one horse character can be allowed. Bazin in pop culture . It is no coincidence that a documentary of adventure is basically shot by a director who is the subject within, and as part of, the surroundings – or say, diegesis – he shoots.

Notably, Bazin mentions Raoul Walsh’s loss of an eye and injury to the limbs during the course of making Western films “with too much of realism” (5), but, before looking further into the actual danger (from animals) lurking in cinematic space, we need to focus on the primary shift in Bazin’s attention from the imaginary alone to the correlation between the imaginary and the real. An anaconda attacking a Blond woman and a fight against crocodiles which are “visibly troubled in their Sunday rest” are deprived of their horror effect, because the film crew was ready to intervene in those dangerous situations. However, if Greenland looks like a “special supplement” to a well predicted danger, Kon-Tiki is unpredictable: it not only re-enacts Peruvians’ hypothetic migration to Polynesia, but amateur filmmaking itself is an integral adventurous action. They became mainstays of film courses in the English-speaking world, but never were updated or revised. More fundamentally, what does the encounter with ontological otherness bring to the human and the cinema?

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