Bazin's Notion of Pure Cinema

Topics: Vittorio De Sica, Bicycle Thieves, Cinema of India Pages: 6 (2134 words) Published: April 4, 2013
Ladri di Bicciclette [Bicycle Thieves] (Vittorio de Sica, 1948)

From the evidence of this extract what are the arguments for and against Bazin’s notion of ‘pure cinema’?

'Bazin's notion of 'pure cinema' follows a simple story composed of 'real' events involving 'real' people, set in 'real' places. The truth of its extraordinary emotional impact is another element of the story's purity.' (cited in Neorealism and Pure Cinema: The Bicycle Thieves, 1948) talk more about this notion – what actually is it can you use examples?

The notion of ‘pure cinema’ meant film makers produced a film that was shot with the intention of creating an emotionally intense what does this mean?what defibes emotionally intense? Is emotionally intense the only emotion that portrays pure cinema? piece using different filming techniques, as opposed to using scripts, studio sets or actors. ‘Pure cinema’ was made up of ‘real life’, character absent films that were purposed to channel abstruse and emotional experiences via unique and individual cinematic devices such as montage, camera angles and movements, sound and visual relationships, super-imposition and optical effects, and visual composition. This essay will attempt to cover the main aspects behind the notion of ‘pure cinema’ that are relevant to the clip. This essay will also be used to establish the main points of argument for and against the notion that are visible (wording) and relevant in the short clip as well as including a brief biography of André Bazin himself.the biograohy bit is not necessary – has no relevance to the question Having watched the short clip of Ladri di Bicciclette [The Bicycle Thieves] (Vittorio de Sica, 1948), there are a range(variety) of aspects that are in favour of Andre Bazin’s ‘pure cinema’ notion, as well as a range against it. This essay will aim to identify each of these aspects.

The true aspects of 'pure cinema' doesn't exist (wording) within the style of the story telling, but within the situation is describes. At the same time, the story becomes synonymous with the style of Italian neorealism, with its socio-economic concerns, the loosely structured storytelling and the unpolished realism of its real location and untrained actors. (Steven D. Greydanus) wording here – say according to. Or Steven D Greydanus suggested/theorised

André Bazin 'spiritual father of the New Wave'said who? was born on April 18th 1918 at Angers. He went to school at La Rochelle at the age of 5 and subsequently studied at Versailles. Then, in 1938, he transferred to St. Cloud where he completed his studies. In 1939 he then joined the army but always centred his focus on film. By 1951 he founded Cahiers du Cinema and in his first issue mentioned his notion of 'pure cinema' in relation to The Bicycle Thief. (What Is Cinema? Volume 1, 1958: p.2) He believed that 'art is a privileged mode of the imaginary, and films create a human object alongside a world of alien objects'. (André Bazin, 1977: p.71) this whole part is not relevant apart from the first quote as long as you can reference it. Try only saying a couple of sentences about him and elaborating on the quote – why is it relevant, what does it have to do with the idea of pure cinema. How can it relate.

The film itself follows an unemployed man and his son spending the day in search for his stolen bicycle in the streets of Rome. The bicycle itself is key to the well-being of the man and is a required tool in order for him to maintain his most recent job. The plot itself is minuscule and has little affect(wording) over the films reality. The stormy weather, the people in and around the market area, and the men talking with one another are all unaffected by the plot.elaborate more. Why? How do you know this?what shows this? It can be argued that the man and his son are characters caught up in the midst of reality. The people are all 'real', they are going about there their usual day, the locations are real, filmed on the...

Bibliography: Dudley Andrew, 1990. André Bazin. Morningside Edition. Columbia University Press.
André Bazin, 1968. What Is Cinema? Volume 1. Edition. University of California Press.
André Bazin, 2004. What Is Cinema?: Volume II. 1 Edition. University of California Press.
The Immortality of Italian Neorealism - Film Forum on 2012. The Immortality of Italian Neorealism - Film Forum on [ONLINE] Available at: [Assessed on 05 March 2012].
Neorealism and Pure Cinema: The Bicycle Thieves | theory kit. 2012. Neorealism and Pure Cinema: The Bicycle Thieves theory kit. [ONLINE] Available at: [Accessed 05 March 2012].
Greydanus, S.D. The Bicycle Thief (Bicycle Thieves) (1948). 2012. The Bicycle Thief (Bicycle Thieves) (1948). [ONLINE] Available at: [Accessed 05 March 2012].
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