Term
| The regeneration of realism in storytelling. |
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Definition
| What does Bazin assert had improved cinema within the last ten years of the date of his writing? |
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Definition
| Bazin clearly values the ability of montage to manipulate the image over the ability of the uncut shot to preserve the unity of image in space and time. |
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| Increased depth of field and deep focus shots serve as a positive substitute for the classical "cut." |
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Definition
| The art of cinema is progressing for the better, says Bazin, because of why? |
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Definition
| In the cinema between 1920 and 1940, Bazin distinguishes two broad and opposing trends: directors who put their their faith in the image and those who put their faith in what? |
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Definition
| Bazin believed the advent of sound was "regrettable" because it ushered in a new era of "pseudo-realism. |
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Definition
| Bazin asserts that since 1930 all the technical requirements for the art of cinema have been available |
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Definition
| Bazin says that ultimately the evolution of editing, under the influence first of Stroheim and Murnau and then of Welles and Wyler, has led the filmmaker to become the equivalent of what |
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Term
| Did not show us an event, but rather alluded to it |
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Definition
| According to Bazin, montage as used by Kuleshov, Eisenstein, and Gance did what? |
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Definition
| By what year does Bazin say that the silent film had reached its peak? |
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Term
| An almost universal standard pattern of editing. |
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Definition
| What does Bazin insist was true of the evolution of editing by 1938? |
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