Change search
CiteExportLink to record
Permanent link

Direct link
Cite
Citation style
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Bildens demokrati - André Bazin och den långa tagningens estetik
2003 (Swedish)Independent thesis Advanced level (degree of Master (One Year))Student thesis
Abstract [en]

The object of this paper is to investigate the aesthetics of the long take, based on the ideas and opinions of the French film critic and essayist André Bazin. Parallel with the paper has a short film, RINTAMA been created in concordance with the theories in the written text, and ideas and inspiration have been interchanged between the two separate works. This concept comes from the model of parallelism, or “parallel theory”, stated by Malcolm Le Grice. To evaluate this form of parallel work is an underlying secondary objective of the paper. Bazin made a close connection between the long take (combined with deep space) and the highly debated concept of film realism, by Bazin interpreted as the duality of the real world. Realism is therefore one of several aspects of the long take included in this paper, together with the image (mise-en-scène, deep space etc), and time (rhythm, duration etc). The fact that the long take allows the viewer to search the image for details and to make his or hers own interpretations gives it its alleged “democratic” propensity, vis-à-vis the guiding of the viewer in editing aesthetics. Various experiences from the film-making process brought perspective and insights to the texts and theories and the theoretical work gave numerous ideas and inspiration to the short film, which demonstrates the value and applicability of the model of parallelism. One important experience was the fact that the long take needed a lot of preparation and that this preparation in many ways led to a guiding of the viewer, hence replacing the editing with another form of guiding and control of the image and its content. This was found to be needed to allow the director to narrate his story and the “democratic” aesthetic of the long take not only includes the duality of the real and the interpretation of viewer, but also the vision of the film maker.

Place, publisher, year, edition, pages
2003. , 56 p.
Identifiers
URN: urn:nbn:se:kau:diva-49700Local ID: FIV D-1OAI: oai:DiVA.org:kau-49700DiVA: diva2:1099322
Subject / course
Film Studies
Available from: 2017-05-29 Created: 2017-05-29

Open Access in DiVA

No full text

Search outside of DiVA

GoogleGoogle Scholar

CiteExportLink to record
Permanent link

Direct link
Cite
Citation style
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf