It was natural, therefore, to keep up appearances in the face of the reality of death by preserving flesh and bone. To preserve, artificially, his bodily appearance is to snatch it from the flow of time, to stow it away neatly, so to speak, in the hold of life. Thus, by providing a defence against the passage of time it satisfied a basic psychological need in man, for death is but the victory of time. The religion of ancient Egypt, aimed against death, saw survival as depending on the continued existence of the corporeal body. The process might reveal that at the origin of painting and sculpture there lies a mummy complex. If the plastic arts were put under psychoanalysis, the practice of embalming the dead might turn out to be a fundamental factor in their creation. In a series of articles I will explore Bazin’s essays. A large collection of Bazin’s writings were complied and published posthumously and entitled What Is Cinema?. Bazin was a co-founder of the influential film magazine Cahiers du Cinema, a mentor and friend of Francois Truffaut and firm supporter of realism. The Paradox of Suspense III – The Problem Cont.Īndre Bazin is undoubtedly a famous figure in film criticism and film theory.The Paradox of Suspense IV – Noel Carroll’s Account of Suspense.The Paradox of Suspense V – Noel Carroll’s Account of Suspense Cont.The Paradox of Suspense VI – Criticisms of Carroll’s Account.
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