Table of Contents

Dudley Andrew and Herve Joubert-Laurencin: A Binocular Preface
Acknowledgments
Part One: Lineage
1: Thomas Elsaesser: A Bazinian Half-Century
2: Ludovic Cortade: Cinema Across Fault Lines: Bazin and the French School of Geography
3: Tom Conley: Evolution and Event in Qu'est-ce que le cinema?
4: Jean-Francois Chevrier: The Reality of Hallucination in Andre Bazin
5: Monica Dall'Asta: Beyond the Image in Benjamin and Bazin: The Aura of the Event
6: Colin MacCabe: Bazin as Modernist
7: Jean-Michel Frodon: Film and Plaster: The Mold of History
8: Diane Arnaud: From Bazin to Deleuze: A Matter of Depth
9: Louis-Georges Schwartz: Deconstruction avant la lettre: Jacques Derrida Before Andre Bazin
Part Two: Aesthetics
10: Philip Rosen: Belief in Bazin
11: Tom Gunning: The World in Its Own Image: The Myth of Total Cinema
12: Daniel Morgan: The Afterlife of Superimposition
13: Angela Dalle Vacche: The Difference of Cinema in the System of the Arts
14: Dudley Andrew: Malraux, Bazin, and the Gesture of Picasso
15: Noa Steimatskky: Incoherent Spasms and the Dignity of Signs: Bazin's Bresson
16: Seung-hoon Jeong: Animals: an Adventure in Bazin's Ontology
17: Ivone Margulies: Bazin's Exquisite Corpses
18: Herve Joubert-Laurencin: Rewriting the Image: Two Effects of the Future-Perfect in Andre Bazin
Part Three: Historical Moment
19: Philip Watts: The Eloquent Image: The Postwar Mission of Film and Criticism
20: Antoine de Baecque: Bazin in Combat
21: Marc Vernet: Bazin the Censor?
22: Jeremi Szaniawski: Waves of Crisis in French Cinema
23: Rochelle Frack: Bazin's Chaplin Myth and the Corrosive Lettrists
24: Steven Ungar: Radical Ambitions in Postwar French Documentary
25: Grant Wiedenfeld: Bazin on the Margins of the Seventh Art
26: Michael Cramer: Television and the Auteur in the Late '50s
27: James Tweedie: Andre Bazin's Bad Taste
Part Four: Worldwide Influence
28: John MacKay: Montage Under Suspicion: Bazin's Russo-Soviet Reception
29: Alice Lovejoy: From Ripples to Waves: Bazin in Eastern Europe
30: Ismail Xavier: Bazin in Brazil: A Welcome Visitor
31: Cecile Lagesse: Bazin and the Politics of Realism in Mainland China
32: Kan Nozaki: Japanese Readings: Textual Thread
33: Ryan Cook: Japanese Lessons: Bazin's Cinematic Cosmopolitanism

About the Author

Dudley Andrew is R. Selden Rose Professor of Film and Comparative Literature at Yale University. He is the author of numerous publications, including What Cinema Is! and Mists of Regret: Culture and Sensibility in Classic French Film.

Hervé Joubert-Laurencin is a leading authority in France on Bazin and the author of Pasolini: Portrait du poete en cineaste and La lettre volante: Quatre essais sur le cinema d'animation.

Reviews

"This amazing collection, whose contributors are some of the most distinguished contemporary film scholars, rescues Bazin from the ossified stereotypes that have come to define him in film pedagogy--realism vs. formalism, depth of field vs. editing, humanism vs. Marxism. It sheds light on the complexities and intricacies of the Bazin oeuvre in all its diversity and delineates the ways in which his work illuminates the definitive impact of film as an art in the
20th century."--Mary Ann Doane, Brown University
"Elegantly moving across disciplines, history, theory and geography, the essays in Opening Bazin construct an invaluable and vivid picture of Bazin as film theorist, film critic and engaged intellectual. It seems throughout to amount to more than the study of one man. However its richness and diversity is derived from those qualities in Bazin himself, so just as the book transcends its subject, he himself returns not only as its generative figure but
also as an emblem of the peculiar and elusive nature of the cinema itself."--Laura Mulvey, Birbeck, University of London