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What the Book Explores

André Bazin’s What is Cinema? is not a treatise on film technique, nor a historical survey, but a philosophical exploration of the nature of cinema itself. Bazin posits that cinema’s unique power lies in its ability to offer a complete and objective representation of reality – a “mummy complex,” as he terms it – rooted in its photographic origins. He examines the evolution of cinematic language, analyzing the contributions of key filmmakers like Chaplin, Eisenstein, and Welles. The book delves into questions of realism versus formalism, montage versus the long take, and the ongoing tension between cinema as art and cinema as entertainment. A central argument revolves around the idea that cinema, unlike painting or theatre, preserves the past, presenting us with a fragment of reality that was once truly *there*.

Historical / Cultural Context

First published in 1958, What is Cinema? emerged from the fertile ground of post-war French film criticism, specifically the influential journal Cahiers du Cinéma, which Bazin helped found. This period saw a re-evaluation of Hollywood genre films and a shift away from traditional notions of cinematic authorship. Bazin and the Cahiers critics championed a “politique des auteurs,” recognizing directors as the primary creative force behind a film. The book reflects the broader intellectual currents of the time, drawing on phenomenology, existentialism, and semiotics. It was written in response to a growing debate about the artistic merit and cultural impact of cinema, as it became a dominant form of mass entertainment. Bazin’s work represents a pivotal moment in the development of film studies, laying the foundation for subsequent generations of film theorists.

Who This Book Is For

What is Cinema? is intended for readers with a serious interest in film, its history, and its aesthetic possibilities. While accessible to the general film enthusiast, the book benefits from some prior familiarity with film theory and a willingness to engage with complex philosophical ideas. It is essential reading for film students, scholars, and anyone seeking a deeper understanding of the medium’s power and potential. It’s not a “how-to” guide, but rather a work of critical reflection designed to reshape one’s approach to watching and analyzing films.

Further Reading

• Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (1960): Another foundational text exploring the relationship between cinema and reality.
• Rudolf Arnheim, Film as Art (1932): A pioneering work examining the psychological and perceptual aspects of cinema.
• David Bordwell, Narration in the Fiction Film (1985): A comprehensive analysis of cinematic storytelling techniques.

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