By Dudley Andrew
André Bazin, frequently dubbed the daddy of the French New Wave, has had a major impression on movie artwork. he's credited with virtually single-handedly developing the examine of movie as an authorised highbrow pursuit. The magazine that he based in 1951, Cahiers du Cinéma, continues to be the main influential archive of cinema feedback. He is still essentially the most learn, so much studied, and most tasty figures ever to have written approximately movie. the previous few years have witnessed an important resurgence of curiosity in Bazin between critics, students, and scholars of each persuasion. His writings, a mainstay of movie concept classes, are actually discovering a spot at the syllabi of middle classes in movie heritage, feedback, and appreciation. Andrew's highbrow biography is a landmark in movie scholarship.
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Extra info for André Bazin (Revised Edition)
In working out an approach, it helps to look for certain elements and qualities in the subject. You can start, for example, by exploring the following: 1. Situational or personal con®icts 2. The existence of strong and charismatic characters involved in the story 3. Possible areas of focus 4. Character and situational change, either immediate or over time, as seen, for instance, in Michael Apted’s Seven Up to Thirty-Five Up 26 GETTING TO WORK There are other jumping-off points, but the above four represent the four strongest lead-ins and matters for overall consideration.
Does it have broad or narrow audience appeal? What approach could we take to the subject? In this way, we are clearing the decks, seeing 11 FROM IDEA TO FIRST DRAFT whether the ¤rst idea looks promising enough to develop. You could say that if the idea is ¤ne, we should just go ahead, but we ¤rst ask one important question: Can we sell this brilliant idea? And if so, how? It’s all very well to be a writer, but usually the serious writer-director must also get involved in fund-raising from the beginning, particularly when the writer is also the producer.
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