Opening Bazin: Postwar Film Theory and Its Afterlife
2012; Oxford University Press; Volume: 53; Issue: 2 Linguagem: Inglês
10.1093/screen/hjs012
ISSN1460-2474
Autores Tópico(s)Cinema and Media Studies
ResumoColin MacCabe begins his contribution to Opening Bazin as follows: When I first wrote about Bazin, in Screen in the summer of 1974, I treated him as a theoretically naïve empiricist, a kind of idiot of the family. In fact, what was idiotic was to construct an Althusserian straw man out of Bazin's commitment to the real. Bazin's elegant writing integrated the elements of filmmaking – industry, art, technology – with a depth and sophistication that Screen's analyses desperately needed. (p. 66) MacCabe goes on charmingly eating humble pie for a time, before homing in on his special topic, Bazin's link to literary modernism, with its selfconsciousness about artistic techniques and its commitment to artistic possibilities for complex and multifaceted relations with reality. MacCabe comments: ‘As Hegel somewhere remarked, if you're thinking something, then there's a high probability that a lot of other people are thinking it too’ (p. 66). Indeed they are in this case, and there should be no further call for anyone interested in film to be ‘idiotic’ about Bazin's high intelligence, subtle thinking, passion for films and what they can relay, and constant openness to new material.
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