By Jean-Luc Nancy
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Extra info for Abbas Kiarostomi : The Evidence of Film
1 film·~ of -the basic aim of his directorial art in La Terra Trema a almost entirely composed of one-shot sequences, thus clearly show_ : ing his concern to cover the entire action in intermin3blc deep-focus. panning shots. However we cannot pass in review all the films that have shared in this revolution in film language since 1940. Now is the moment to attempt a synthesis of our reflections on the subject. It seems to us that the decade from 1940 to 1950 marks a decisive step forward in the development of the language of the film.
Compare for example Erich von Stroheim and Jean Renoir or Orson Welles, or again Carl Theodore Dreyer and Robert Bresson. These more or less clear-cut affinities demonstrate first of all that the gap separating the 1920's 23 What Is Cinema? and the 1930's can be bridged, and secondly that certain cinematic values actually carryover from the silent to the sound film and, above all, that it is less a matter of setting silence over against sound than of contrasting certain families of styles, certain basically different concepts of cinematographic expression.
B. de Mille in The Cheat (1915]. They are just one type of figure, among others, of his style. In other words, in the silent days, montage evoked what the director wanted to say; in the editing of 1938, it described it. Today we can say that at ]ast the director writes in film. The image-its 39 b W hat I s Cinema? ~ plastic composition and the way it is set in time, because it is '~ founded on a much higher degree of realism-has at its disposal. ' more means of manipulating reality and of modifying it from with..
Abbas Kiarostomi : The Evidence of Film by Jean-Luc Nancy