"In the cinema at present the camera has become a sort of god. You have a camera, fixed on its tripod or crane, which is just like a heathen altar; around it are the high priests — the director, cameraman, assistants — who bring victims before the camera, like burnt offerings, then cast them into the flames. And the camera is there, immobile — or almost so — and when it does move, it follows patterns ordained by the high priests, not by the victims." —Jean Renoir, in conversation with AndrĂ© Bazin, 1958
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