week 3 : realism (film n audiovisual)
can one judge a director by a single film pg 62
it fits a vision of the world directly adapted to a framework of miss en scène. Rossellini: because we are aware of it as a lack, a refusal, an escape from things, and hanse finally as a kind of pain, it follows that it is easier for us to be aware of it, easier for us to reduce it to a formal method. he can’t alter this without himself passing throughout a personal moral revolution 62 de sica sole purpose seems to be to interpret their scenarios faithfully, whose entire talent derives from the love they have for their subject, from their ultimate understanding of it. it is a temptation therefor to see only craftsmanship where one is looking for style, the generous humility of a clever technician meeting the demands of the subject instead of the creative imprint of a true auteur. (director/author) mise en scene of rossellini film can be readily deduced from the images he uses, whereas DE siva forces us to arrive at his miss en scene inductively from a visual narrative which does not seem to admit of it. the realism of de siva takes on its meaning, for in art at the source of all realism, there is an aesthetic paradox that must be resolved. 64 the realist trends in cinema as in other arts, consisted simply in introducing a greater measure of reality into the work, but this additional measure of reality was still only an effective way of serving an abstract purpose, whether dramatic, moral, or ideological. neorealism runs counter to the traditional categories of spectacle- above all, as regards acting. 65 implicitly between spectator and actor that the same psychological causes produce the same physical effect and that one can without any ambiguity pass backwards and forwards from one to another. the breaking up of the scenes into shots and their assemblage is the equivalent of an expressionism in time, a reconstruction of the event according to an articial and abstract...
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