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A Report on the 46th Thessaloniki Film Festival, 18-27 November 2005
Michael Grant

Film Studies
Ian Aitken

–16. 153 Andrew, Dudley, André Bazin (New York: Columbia University Press, 1978), pp. 25–9. 154 Gray, Hugh, ‘Translator’s Introduction’, in Bazin, André, What Is Cinema? Volume II (Berkeley, Los Angeles and London: University of California Press, 1972), pp. 2–4. 155

in Realist film theory and cinema
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Theories of filmic reality

In formulating a notion of filmic reality, this book offers a novel way of understanding our relationship with cinema. It argues that cinema need not be understood in terms of its capacities to refer to, reproduce or represent reality, but should be understood in terms of the kinds of realities it has the ability to create. The book investigates filmic reality by way of six key film theorists: André Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj Žižek and Jacques Rancière. In doing so, it provides comprehensive introductions to each of these thinkers, while also debunking many myths and misconceptions about them. Along the way, a notion of filmic reality is formed that radically reconfigures our understanding of cinema.

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The book aims to provide a balanced appraisal of Eric Rohmer's oeuvre in historical context. Although interpretation of individual films will not be its main objective, representative examples from the director's twenty-five features and fiction shorts will be presented throughout. The focus is on production history and reception in the mainstream French press. This key stylistic editing trait cannot be appreciated without reference to André Bazin's concept of ontological realism, of which Rohmer was a major exponent at Cahiers du cinéma. To establish the intertexts and artistic principles his films put into play, the book reviews the abundant critical writings Rohmer published in France from the late 1940s to the early 1960s. It explores how sound and image are configured, and to what effect. The book then broaches issues central to the director's finest work for the screen. 'Seriality and theme', devoted to the Contes moraux, Comédies et proverbes, and Contes des quatre saisons, looks at how Rohmer's decision to work by thematic series forces the viewer to intuit relations of complementarity, identity, and opposition that lend each cycle a complex, musical texture. It pays close attention to four of the director's costume films. The book concludes with a brief excursus on le rohmérien, that inimitable, instantly recognisable variant of the French language that spectators come to love or to hate.

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One of the first commentators to attempt a balanced reassessment of Pagnol was Cahiers du cinéma founder André Bazin, who in his 1959 classic Qu'est-ce que le cinema? devoted a chapter to the filmmaker as part of an extended reflection on the links between theatre and cinema. Bazin broke new ground by rejecting the longstanding tendency to dismiss Pagnol's work as the cinematic recycling of theatrical convention and by recognising the value of subordinating image to speech. This book offers the first comprehensive, scrupulously documented, and unapologetically critical reading of Pagnol's cinema. It highlights his singular contribution to classic French film as an auteur and businessman while at the same time evaluating the larger cultural and aesthetic stakes of his movies. Rather than adopting a strictly chronological approach, the book traces the emergence of Pagnol's signature style in theatre and presents an epilogue that surveys the afterlife of his work in France since the mid-1970s. It discusses the definitive opening up of Pagnol's theatrically inspired cinema and his maturation from dramatic author into bona fide screen director. While Pagnol battled to defend and perfect his signature brand of cinématurgie, he simultaneously pursued an alternative production model that rejected both theatrical convention and contemporary film industry practice by shooting feature-length pictures on site in the Provençal countryside. The success of Pagnol's business model was unmatched in 1930s French cinema, offering industry insiders and the general public welcome proof that their nation could not only defend its unique cultural identity against Americanisation.

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Sam Rohdie

relatively whole and time can be given its due, the time of an event being simply the time of the shot, hence the length of takes with these new techniques (the opening of Welles’s Touch of Evil, for example, and the scene in the hotel lounge near the beginning of Visconti’s La Morte in Venezia). André Bazin would argue (rather too sweepingly) that such techniques rendered the real more fully than did montage and that rather

in Montage
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Stefania Parigi

perceptual relation between subject and object. In effect, there is a deeply inherent relation between the subject who speaks about the world and the world as recounted, between experience and narration. The perceptions of Rossellini imposed themselves against conventional representational formulas. The realism of Paisà moves in a phenomenological light, emphasized by Amédée Ayfre and André Bazin. It is the film-maker who is

in Cinema – Italy
The mise-en-scène of mise-en-scène
Peter Buse
Núria Triana Toribio
, and
Andy Willis

‘location’, they invariably reconstruct that location to suit the demands of the film. This is a cinema, then, which pulls against the ‘ontology of the photographic image’ identified by André Bazin. According to Bazin, the cinema has a privileged relation to the real, and ‘enjoys a certain advantage in virtue of this transference of reality from the thing to its reproduction’ (1967, 14). We find instead in these films a working on, a distortion, or a fabrication of fictional worlds, into which, as we have argued in the previous chapter on 800 balas, shards of social

in The cinema of Álex de la Iglesia
John Gibbs

meaningful because it is picked out for us. In Preminger’s film, the process is reversed: we pick it out because it is meaningful. The emphasis arises organically out of the whole action; it is not imposed.58 V.F. Perkins’s writing on Rope challenges both Pudovkin and André Bazin: ‘The true originality of Rope lies not in the initial decision to use the ten-­minute take, but in the method of using it – sacrificing the “best” points of both Pudovkin’s montage and 142 The life of mise-en-scène Figure 4.2  River of No Return (1954) the Welles/Wyler long-­take.’59 Closer

in The life of mise-en-scène
Richard Rushton

2  Realism, reality and authenticity  3  Searching for reality: Chronique d’un été (Jean Rouch, Edgar Morin, 1961) I n terms of the distinction outlined in the previous chapter of this book, one might ordinarily think that André Bazin’s position in the history of film theory is set. He is a realist and that means, quite simply, that his understanding of cinema is predicated on a distinction between illusion and reality. Some films –  especially those with excessive editing, or with fanciful stage settings – will deliver illusion, while others – particularly

in The reality of film