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Index
Cover Page
Title Page
Copyright Page
Contents
A Binocular Preface
Acknowledgments
Part One: Lineage
1. A Bazinian Half-Century
2. Cinema Across Fault Lines: Bazin and the French School of Geography
3. Evolution and Event in Qu’est-ce que le cinéma?
4. The Reality of Hallucination in André Bazin
5. Beyond the Image in Benjamin and Bazin: The Aura of the Event
6. Bazin as Modernist
7. Film and Plaster: The Mold of History
8. From Bazin to Deleuze: A Matter of Depth
9. Deconstruction avant la lettre: Jacques Derrida Before André Bazin
Part Two: Aesthetics
10. Belief in Bazin
11. The World in Its Own Image: The Myth of Total Cinema
12. The Afterlife of Superimposition
13. The Difference of Cinema in the System of the Arts
14. Malraux, Bazin, and the Gesture of Picasso
15. Incoherent Spasms and the Dignity of Signs: Bazin’s Bresson
16. Animals: an Adventure in Bazin’s Ontology
17. Bazin’s Exquisite Corpses
18. Rewriting the Image: Two Effects of the Future-Perfect in André Bazin
Part Three: Historical Moment
19. The Eloquent Image: The Postwar Mission of Film and Criticism
20. Bazin in Combat
21. Bazin the Censor?
22. Waves of Crisis in French Cinema
23. Bazin’s Chaplin Myth and the Corrosive Lettrists
24. Radical Ambitions in Postwar French Documentary
25. Bazin on the Margins of the Seventh Art
26. Television and the Auteur in the Late ‘50s
27. André Bazin’s Bad Taste
Part Four: Worldwide Influence
28. Montage Under Suspicion: Bazin’s Russo-Soviet Reception
29. From Ripples to Waves: Bazin in Eastern Europe
30. Bazin in Brazil: A Welcome Visitor
31. Bazin and the Politics of Realism in Mainland China
32. Japanese Readings: The Textual Thread
33. Japanese Lessons: Bazin’s Cinematic Cosmopolitanism
Notes on Contributors
Index of Names
Index of Films
Index of Terms
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