There was a period when André Bazin was considered by some to be a simplistic, naive thinker whose writings were only of historic interest. In 1974, Screen regular Colin MacCabe, in a widely influential article, characterized Bazin as “a theoretically naive empiricist, a kind of idiot of the family.” How times have changed. In a new essay, MacCabe writes that Bazin realized that cinema creates a “complicated series of relationships between camera and setting” and concludes that Bazin was really a modernist, and so on the right side of history after all. Bazin, a modernist? I am not so sure. However, the sea change evidenced by MacCabe is symptomatic of the state of cinema studies as a whole: Bazin is back! This must be deeply gratifying to Bazin scholar and editor of Opening Bazin: Postwar Theory and Its Afterlife Dudley Andrew, who has been Bazin's leading advocate on the American side of the Atlantic for more than three decades.

This content is only available as a PDF.
You do not currently have access to this content.