Examines two distinct views regarding cinema and realism in terms of the industrial mass production of contemporary film.
Written in 2008; 2,140 words; 4 sources; MLA; $ 66.95
Paper Summary:
This paper looks at the theories of Andre Bazin and Theodore Adorno about the human condition in modern film. The author contends that, while it is undeniable that film is created in the context of a cultural industry as Adorno suggests, Bazin's insights regarding the origins of its psychological power over the mass audience are critical to the appreciation of how film can function as a vehicle of both commercial and popular interests. The paper shows how the theoretical perspectives of both Bazin and Adorno are flawed in not considering the complex relationship between cinema and "realism" in terms of style, aesthetics and the role of the author.
Table of Contents:
Introduction
Divergent Views on Cinema, Its History and Functions
The Human Factor - Cinema and Realism
From the Paper:
"This argument is flawed in two respects: first, it ignores the fact that Welles was an "outsider" of the Hollywood system from the earliest days of his career, and far from being "forgiven" he was persecuted by the industry and its major business backers such as Randolph Hearst; and second, the problem of the "auteur" is not isolated to Welles or even a handful of cinematic innovators. Indeed, the history of cinema - even Hollywood cinema in the era of the major studios - is one of extraordinary creativity, innovation and dynamism."
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