Who is the film theorist about the famous theory of bridge, stone and river?

Bazin, a French film theorist and film critic, is one of the founders of the film handbook, a famous French film magazine.

One of the spiritual leaders of the French fan movement, he is known as "the spiritual father of French fans" (in Antoine De Baecque) and "Aristotle of movies" (different from "Hegel of movies": jean mitry). Bazin published a series of high-quality film reviews from1940s to 1950s, which were compiled into four volumes of What is a Film, which became a classic in the history of film theory and a cornerstone of the development of realistic film theory after World War II. Bazin praised realism aesthetics, discovered and expounded the important value of Italian neo-realism directors, expounded the importance and dialectical relationship between montage and depth of field lens in film language, put forward the theory of long lens, enriched and summarized the author's theory, and promoted by Bazin and the film handbook, a new wave movement arose in French films after World War II. 9 18 was born in anger on April 8, and 1958 died in Bree-on-Marne. 1943 began to engage in film criticism, and later served as the editor-in-chief of the magazines Screen, Spirit and Observer. In the early 1950s, the editor-in-chief founded the Film Handbook. Bazin advocates real aesthetics and opposes aestheticism. He established a complete film realism system. Film image ontology, film origin psychology and film language evolution view are the philosophical, psychological and aesthetic foundations of this system. Bazin believes that the basis of film is photography, and the uniqueness of photography lies in its essential objectivity. The invention of movies has satisfied the psychological desire of human beings to replace the outside world with realistic imitation since ancient times. Bazin advocates shooting movies according to the style and depth of field of a shot, belittles the role of montage, emphasizes the significance and expressiveness of a single shot, and opposes cutting, arranging and combining shots at will with montage, which destroys the unity of time and space of shots. Bazin advocates "transparent" movies, that is, movies with no obvious skills. Bazin admired Italian neo-realism, keenly realized the great aesthetic significance of this film genre, and systematically summarized its artistic expression. Bazin's main works are included in the prose collection "What is a movie? (4 volumes), his theoretical system of film realism had a great influence on western film creation in 1950s. In fact, he is the spiritual leader of a new generation of French film directors, and the new wave film is the practice of his theory.