#Bazin

[schweizercomics]

Adding to the THREE MUSKETEERS collection I'm working up (building on the existing lead character drawings); the lackeys! Pious Bazin, daredevilish Mousqeton, stoic Grimaud, and crafty Planchet.

[sahljournal]

[detournementsmineurs]

“Portrait de Rodin Tenant une Statuette Egyptienne" gravure de Gustave-Léon Bazin (1914-17) à l'exposition "Rêve d'Égypte" du Musée Rodin, Paris, février 2023.

[bustakay]

Daney on Bazin and cinema's disappearance/realisation

[dog-uncrushed]

"Hence the charm of family albums. Those grey or sepia shadows, phantomlike and almost undecipherable, are no longer traditional family portraits but rather the disturbing presence of lives halted at a set moment in their duration, freed from their destiny; not, however, by the prestige of art but by the power of an impassive mechanical process: for photography does not create eternity, as art does, it embalms time, rescuing it simply from its proper corruption." –– A. Bazin

[yocan-vaporizer]

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[goldlock1]

~ideological state apparatus theory~ & la la land

I love this theory so I just want to talk about it! Basically, it's the idea that film is a vehicle for the dissemination of an ideology that reinforces the control of the dominant class. Mainstream cinema would have us believe that it is doing its best to represent real life, and Bazin would say that this is cinema's most important aim. Colin MacCabe, however, thinks that cinema is not equipped to represent reality because reality is something that just...isn't representable. He's fighting against this idea we tend to have of films being real and raw and emotional -- and I would tend to agree with him. i think that there is something that a lot of films are missing when it comes to emotional integrity. there's something about a lot of them that i just don't buy.

at the same time, i also think that films affect us emotionally because we have accepted our position as the subjects of the film. We relate to the characters and their experiences. we fall into the trap of being affected and inspired.

Perhaps one of the most powerful methods of inspiration is music -- or, for our context, the movie musical. And since we're talking about reality here, I'm going to talk about the 2016 film La La Land. I think it's a film that represents reality in a very convincing way, through the emotional appeals of its songs and dances and harkening to a more nostalgic era of art. But I also believe that it is trying to convince us of a capitalist falsehood: that belief and hard work in your dream will one day be enough for you to actually achieve it.

This scene, like many others in the film, is one long, deep take (an important element of Bazinian realism), in which we are actually experiencing time at the characters do -- pay attention to how the camera moves, and who the camera is focused on. Listen to the lyrics of the song.

Without looking at it too closely, this just looks like the opening number to a feel-good musical (which on some level, it really is, and it's ok to take pleasure in it). But let's look a little deeper. I believe this clip employs some method of subversive realism, in the sense that we're not following the story of any one character for too long: it's what MacCabe refers to as "a systematic refusal of any such dominant discourse", like in Van Sant's Elephant. We're seeing a very mobile camera, and even the cars are blessedly normal (Pontiac Aztek amirite). So in this sense La La Land is shaping up to be a bit of a subversive realist film. The rest of the movie also contains elements of it -- we see people dancing in the air among the stars, we see alternate realities, we see reflexivity in a scene where all but one of the actors are frozen in a tableau.

Personally, however, I think that these elements produce the opposite effect of subversive realism. Within the context of this particular film, they actually draw us deeper into the narrative, and this opening number "hooks the eye, the heart, and the mind. And once it snags you, it keeps getting better" (Variety.com).

This opening scene is so compelling because of its ensemble nature, where there seems to be no dominant discourse. But that's where it gets you! Because while we're introduced to different characters, distracted by the bright colors, we simply accept, and even delight in, the fact that they're all singing the same song: therefore, perpetuating a unified discourse or IDEOLOGY. This is where it gets fascinating. We're in horrible Los Angeles traffic. It's hot. It's boring. Yet everyone breaks into song and dance, glorifying life in traffic under the hot California sun, the endless dance of sacrificing everything to chase a dream that probably won't come true. One could even say it's glorifying the American dream, this idea that if you just work hard enough, if you want something enough, you will succeed.

In this manner, we are swept into a romantic notion of hard work, one that keeps us working and working and running this Pontiac Aztek of a country steered by the bourgeois class. This is the ideological capitalist falsehood of La La Land. The main characters achieve their ultimate goals -- albeit with the sacrifice of the life that could have been -- but we don't ever see those hundreds of dancers again, people that didn't achieve those goals. We don't get to see the reality of sky-high rent and working three jobs to make ends meet while you're waiting for the big break that never comes.

This is not a love letter to the life of the struggling artist, it is a romanticism of that life. Our main character, an aspiring actress, only has to work her one job at the coffee shop to afford her gorgeously decorated 791-square-foot apartment, and eventually shows up to the one-in-a-million audition for a role she's already been cast in. it's the dream of every person dancing on their car in gridlock. It's the reality for almost no one.

But damn if that scene isn't inspiring. And it's made more so by the fact that our main character does make it. The trap of inspiration can be a comfortable one. I know it is for me -- I'm someone who's deeply affected by ideological state apparatuses like film and theater and music, and there isn't any shame in that. Because even though they are perpetuating ideologies I may not subscribe to, i find there is some grain of truth to them.

they are art, after all.

[jurnaldeoltenia]

Bazinul de înot de la Carol se va deschide luni 26 septembrie..

Bazinul de înot de la Carol se va deschide luni 26 septembrie..

Colegiul Național ”Carol I” Craiova, în parteneriat cu Asociația Sportivă Carol I Craiova, anunță organizarea cursurilor de înot pentru toți elevii ÎNCEPÂND DE LUNI 26 SEPTEMBRIE 2022. Elevii cu vârste între 6 şi 18 ani se pot inscrie la cursurile de inot se pot găsi pe site-ul cnc.ro, secțiunea Cursuri de înot sau cu un singur click aici Un curs de înot constă într-un pachet de 10 ședințe…

[punctuation-completionist]

since today is punctuation day, i figured i'd talk with you about my favorite punctuation that is sadly not in unicode

(my apologies if these crop weird)

these six marks were invented by french writer hervé bazin in his essay plumons l'oiseau (or 'let's pluck the bird')

while the essay also had aim to switch the french language to a more phonetic writing system, it also gave us six new punctuation marks!

from left to right and top to bottom these are, the acclamation point, the authority mark, the conviction point, the doubt point, the irony mark, and the love point. so let's go over what these all were supposed to convey! (or at least what i expect they were supposed to)

the acclamation point was meant for praise, goodwill, and enthusiasm (ie "Well done [acclamation point]")

the authority mark was meant to be used in situations where the exclamation was serious and involved a degree of command or urgency (ie "Get in my office right now [authority mark]") i think this— along with the love point and irony mark— shows how a lot of these punctuation marks were a bit like early examples of tone tags, i'll get into it more later

the certitude point was used to show sureness in a fact. (ie "It's absolutely positively true [certitude point]") i think this might be the most useless of the bunch but whatever. i digress.

the doubt point is kind of the opposite of the certitude point, used when you aren't sure of something (ie "It should be done tomorrow [doubt point]") also it should be noted that the example used above is not the only way you'll see the doubt point, some also have it looking like this

the idea of irony marks has been widely suggested, for example the poet/art critic/song writer (i think, this guy's only wiki page is in french and i am guessing a bit on the word 'chansonnier') alcanter de brahm suggested an irony mark that resembled a backwards question mark (not to be confused with the percontation point which indicated a rhetorical question) and belgian inventor (among other things) marcellin jobard suggested a point that looked like an upwards arrow (this △ on top of this |, i can't paste it)

^ de brahm's mark

all that to say, bazin's mark was based off of the greek letter psi (Ψ) which some of you may recognize if you are familiar with the greek language or comics that shall not be named. it's used in situations of irony (ie saying "Wow, that sure was brilliant [irony mark]" if someone did something stupid)

and our last point is the love point, known for being so adorable, and indicating love or affection after a sentence (ie "Thanks a lot bud [love point]")

now we can obviously see that some of these are very similar to tone tags! the love point could be like a /pos, the irony mark is kinda like a /sarc, the authority mark could be like a /srs . i just thought it was interesting i guess. i don't have a point (heh) here exactly except that i guess people might actually need these punctuation marks ? so unicode? give me the love point or give me death

anyways so that's some fun niche history for y'all! hope you enjoyed

[1homme2terre]

Rien n'use mieux les vieilles patiences que les jeunes passions.

Hervé Bazin

[catsofyore]

Renowned film critic André Bazin with cat friend. Source.

[5starcartel]

Ibrahim Ballo

[mcpirita]

Anna Karina. Muse of the cult director of the new wave Jean-Luc Godard.

Photos from different years

[davidhudson]

André Bazin, April 18, 1918 – November 11, 1958.

[sapphicstarwars]

Sapphic Rarepair Tournament Round 5-95

[brooksbutler]

The Weight We Carry ~ E ~ gingerrose ~ post-TROS canonverse AU ~ secret missions and covert operations ~ 1/16

Rose Tico is floundering after the war - no home, no family, no purpose. When she is offered the opportunity to be part of a covert group tasked with identifying and neutralizing potential threats to the New Republic, she jumps at the chance.

It's only after their first mission that Rose learns her teammates' identities: an assassin, a spicerunner, a former stormtrooper, and the man who once ordered her execution.

But is he more than that?

Or is he the same cunning, self-serving tactician with his own hidden agenda?

As they train, plan, and execute missions, Rose begins to wonder if she has finally found her purpose. Maybe even a family - with women who fight and love as fiercely as sisters, a boy who needs her as much as she needs him, an overbearing droid, and even a cat.

Is Hux a part of that purpose? That family? Or will his secrets and their consequences destroy it all?

(reblogs appreciated)