Andre bazan's film theory

Core and basic viewpoint: the objects in the objective reality of the image are the same. (Source: Photographic Image Ontology) The essence of film reappearing the original appearance of things is the basis of film aesthetics.

Noun explanation: the cornerstone of Bazin's film realism theory system of image ontology. Its core and basic point of view is that the image is the same as the object in the objective reality. Bazin put forward in the article "The Ontology of Photographic Images" that the reappearance of things by movies is the basis of film aesthetics. Because all art is based on human participation, only in photography can we have the privilege of not letting people get involved. Therefore, the images obtained by photography have natural properties. Image ontology is closely related to Bazin's film origin psychology and film language evolution theory. Bazin believes that the psychological basis of film invention is to reproduce the illusion of complete reality, and realism is the trend of film language evolution. Core and basic viewpoint: The psychological basis of film invention is to reproduce the illusion of complete reality. (Source: The Myth of Complete Film) Film is the product of human beings' pursuit of truth and reproduction of reality, which determines the authenticity of screen image, the perfection of film technology and the development direction of film art: reproduction of a real world. However, it is impossible for movies to completely depict the objective reality. Movies are the gradual line of reality. (Source: "Masterpiece: humberto D")

Noun explanation: Mummy complex Bazin explained the origin of the film with psychoanalysis. Bazin's psychology of studying the origin of movies can be traced back to the origin of sculpture and painting. He believes that people have the motivation to preserve their bodies forever. The mummy coated with spices was the first statue. Sculpture and painting have become substitutes for people. Their origin is a desire, a primitive demand. Photography is not to create eternity, but to add interest to reality and make time not decay. Bazin believes that photography, as a supplement to nature, is not a substitute and has the privilege of not letting people interfere for the first time. So the film realized the identity of the image and the subject for the first time, like a mummy.

Noun explanation: Bazin put forward the film concept of film origin in the article "The Myth of Complete Film". He believes that the psychological reason of the film's origin is to reproduce the myth of a complete film, that is, to reproduce the illusion of the external world with sound, color and subjective feelings. Core and basic viewpoints: Realism is the trend of film language evolution. Bazin's film realism includes three aspects: expressing the truth of the object; The truth of time and space (the core of aesthetics); The truth of narrative structure. In order to realize these aesthetic ideals, Bazin put forward the "long lens theory".

Noun explanation: "Long lens (depth of field lens) theory" Long lens theory is an imprecise summary of "depth of field lens theory" put forward by Bazin. According to the principle of long lens (lens-paragraph) and depth-of-field lens, it is a film style and expression technique aimed at expressing a complete real scene. Its specific practical requirements are:

A avoid strictly limiting the audience's perception process, which is a potential ideographic form, focusing on revealing the motivation through the normal and complete actions of things. Be transparent and ambiguous.

B. The long lens (lens-paragraph) ensures that the time course of the event is respected, and the depth of field lens allows the audience to see the whole picture of the real space and the actual connection of things.

C. continuous shooting's scenes embody the narrative principles of modern movies, abandon the ellipsis that strictly conforms to the causal logic of drama, and reproduce the natural flow of real things, thus being more realistic.

(4) The film is the asymptote of reality.

In the ontology of photographic images, Bazin put forward the aesthetic principle that "the aesthetic feature of photography is that it can reveal the truth". He said: "... the camera lens has got rid of the old prejudice and removed the mental rust that our feelings have covered the object." Only this kind of cold-eyed lens can make the world give me a pure face, attract my attention and arouse my attachment. " Bazin came to the conclusion that the first feature of film art was "documentary feature". It is closer to life and reality than any art. Bazin's "film is the asymptotic line of reality" is called the slogan of "realism".

Among the works of "New Wave", Changfu's Run Run amok directly practices Bazin's theory, which is a film that can well interpret Bazin's theory. Run amok describes a boy of 12 years old, Antona, who fled the street twice because he could not get the understanding and care of his parents and teachers. Later, he was questioned by the police and psychologists for stealing, sent to a labor camp, and then fled to the sea. Truffaut broke the traditional narrative technique, kept the narrative language of the film on the asymptote of life all the time, and formed a brand-new artistic style. At the same time, this film has had a great response and welcome in the international film industry, laying the foundation for the rise of the "new wave".

(5) Scene scheduling theory

Bazin thinks: "The authenticity of narration is directly opposed to the authenticity of sensibility, and the authenticity of sensibility first comes from the authenticity of space". The practice of montage theory is "telling events", which will inevitably divide space and time, thus destroying perceptual truth. On the contrary, the depth-of-field lens is always "recording events", which "respects the perceptual real time and space" and requires "preserving objects in the same spatial identity". Bazin hopes that filmmakers will realize the original power inherent in the film itself. He thinks that it needs artistic skills to explain and clarify meaning, but it also needs artistic skills to show meaning through unadorned pictures. All these constitute Bazin's scene scheduling theory, which some people call "depth of field lens" theory or "long lens" theory. The "scene scheduling theory" put forward by Bazin is opposite to the montage theory in almost all aspects. Montage divides time and space for the purpose of telling stories, and scene scheduling pursues the relative unity of time and space without artificial explanation; The narrative of montage determines the director's self-expression in film art, and the documentary of scene scheduling determines the director's self-elimination; Montage theory emphasizes the artificial skills outside the picture, and scene scheduling emphasizes the original power inside the picture; Montage shows the single meaning of things, which is distinctive and mandatory, while scene scheduling shows the multiple meanings of things, which is instantaneous and random; Montage guides the audience to make a choice, and scene scheduling prompts the audience to make a choice.

Bazin's theory influenced a whole generation. Truffaut is a loyal follower of Bazin. He said, "There is no right picture, only the right picture". Godard said: "The movie is the truth of 24 frames per second". Their film ideas are in the same strain as Bazin's scene scheduling theory.