Bazin, Eisenstein, and Pudovkin

Question 1

Andre Bazin argues that this was the formal system of the cinema:

Answer 1

Cinematography was the definitive formal system of cinema, which defined the aesthetic and political value. [not montage].

Question 2

Serge Eisenstein’s argues that this was the most important formal system of the cinema:

Answer 2

Montage (editing) was the definitive formal system of cinema [not cinematography].

Question 3

Bazin’s Essential Argument on Realism

Answer 3

He believed that the cinema’s essential value is its ability to render realism.

Question 4

Bazin argues for the long take & depth of field because:

Answer 4

• It puts the spectator in a closer relationship to the image that he enjoys with reality. It’s more realistic & is not broken up by montage.
• The spectator is relied upon to be more active in scanning the image. Montage rules out ambiguity. By nature, it retains ambiguity of reality.

Question 5

Serge Eisenstein (soviet montage theorist) logic on the cinematography.

Answer 5

Cinematography is part of montage. Cinema generates meaning in the relation in the conflict between images.

Question 6

Eisenstein’s Japan Example

Answer 6

Japan, a country where they use montage in their culture (hieroglyphs- a denotative approach to language. The eye + water = sadness. Two images together mean together). The cinema is a form of language.

Question 7

Eisenstein’s opinion on realism:

Answer 7

Cinema’s denotation is by depiction. As a Marxist, he believed that what we see is conditioned by our social class. He believed we couldn’t see reality unless it was worked on in some way. Unless we theorize about the material means of production & how they relate to what we’re actually seeing.

Question 8

Eisenstein’s Examples of Shot Conflict

Answer 8

1. Direction
2. Light Dark
3. Shot Distance
4. What We See in the Shot

Question 9

Eisenstein’s Haiku Example

Answer 9

Haiku: laconic, non-verbal images transform to conceptual thinking. They produce emotion.