André Bazin: Film Critic Extraordinaire

Myths of the whole movie, Bazin talks about the idea that human psychology always requires people to portray reality. It might be a way to fight death. Bazin explained that the relationship between the captured image and its life counterpart is like this. From the history of the movie, jumping from a quiet movie to a sound does not prove the direct impact on shooting and editing style. Since the early sound theater was heavily dependent on the editing system, the early sound theater was thought to have retreated in the media development. The editing system unnaturally switched a series of close-up shots and long and medium shots alternately.

Regarding the theme of the movie performance, French critic Andrei Bazin said that actors and actresses wrote that the audience "do not know our existence", so there was a reciprocal relationship between them lacking. . Actor and bystander in the movie, VI Pudovkin, "Direct consciousness of actors participating in multiplayer", not in the audience of theater, agrees with Bazin, "I am not in the movies at all" There. , 291) Most actors work in movies. The era of pastors and keatons represents the kind of performance discussed by Pudovkin and Bazin and is a style directly influenced by the 19th century drama that Seidman considers "completely based on novels". Realism "theater. (Seidman, 22) But Pastor and Keaton represent different performers, and this difference is quite relevant to their background of singing and dancing.

Auteurism was born out of French film critique of the late 1940s derived from the film critique of André Bazin and Alexandre Astruc - it is called the supervision theory by American critic Andrew Sarris. This concept was invented to distinguish French New Wave film director and Studio system director as part of Hollywood film production and it has been applied to pop music producers and video game creators as well. Even before the director's theory is clearly defined, the director is considered to be the most important filmmaker. Early German film theorist Walter Julius Bloom thought that this was the art as a movie massa and the public was accustomed to the final product (in this case the director) as an artist and as a previous contributor. (Ie a script writer. As an apprentice