ANDRE BAZIN

Photography does not create eternity, as art does; it embalms time, rescuing it simply from its proper corruption.

All films are born free and equal.

How has The Grand Illusion held up over the years? It is not enough to say that it has retained its power. Not only has the stature of the film remained undiminished by the passage of time (except in a few minor details), but the innovation, the audacity, and, for want of a better word, the modernity of the direction have acquired an even greater impact.

Today we can say that at last the director writes the film. The image--its plastic composition and the way it is set in time, because it is founded on a much higher degree of realism--has at its disposal more means of manipulating reality and of modifying it from within. The film-maker is no longer the competitor of the painter and the playwright, he is, at last the equal of the novelist

The photographer proceeds, via the intermediary of the lens, to a point where he literally takes a luminous imprint, a cast... [But] the cinema realizes the paradox of moulding itself on the time of the object and of taking the imprint of its duration as well.

Photography has freed the plastic arts from their obsession with likeness.

All the arts are based on the presence of man, only photography derives an advantage from his absence. Photography affects us like a phenomenon in nature, like a flower or a snowflake whose vegetable or earthly origins are an inseparable part of their beauty.

[The photograph] is the object itself... [It] shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.

The 'Western' is the only genre whose origins are almost identical with those of the cinema itself.

The essential factor in the transition of the baroque to photography is not the perfecting of a physical process... rather does it lie in a psychological fact, to wit, in completely satisfying our appetite for illusion by a mechanical reproduction in the making of which man plays not part. The solution is not to be found in the result achieved, but in the way of achieving it.

Photography does not create eternity, as art does; it embalms time, rescuing it simply from its proper corruption.

The 'Western' is the only genre whose origins are almost identical with those of the cinema itself.

A very faithful drawing may actually tell us more about the model but despite the promptings of our critical intelligence it will never have the irrational power of the photograph to bear away our faith.

The essential factor in the transition of the baroque to photography is not the perfecting of a physical process... rather does it lie in a psychological fact, to wit, in completely satisfying our appetite for illusion by a mechanical reproduction in the making of which man plays not part. The solution is not to be found in the result achieved, but in the way of achieving it.

[The photograph] is the object itself... [It] shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.

All films are born free and equal.

Today we can say that at last the director writes the film. The image--its plastic composition and the way it is set in time, because it is founded on a much higher degree of realism--has at its disposal more means of manipulating reality and of modifying it from within. The film-maker is no longer the competitor of the painter and the playwright, he is, at last the equal of the novelist

Photography has freed the plastic arts from their obsession with likeness.

How has The Grand Illusion held up over the years? It is not enough to say that it has retained its power. Not only has the stature of the film remained undiminished by the passage of time (except in a few minor details), but the innovation, the audacity, and, for want of a better word, the modernity of the direction have acquired an even greater impact.

The photographer proceeds, via the intermediary of the lens, to a point where he literally takes a luminous imprint, a cast... [But] the cinema realizes the paradox of moulding itself on the time of the object and of taking the imprint of its duration as well.

All the arts are based on the presence of man, only photography derives an advantage from his absence. Photography affects us like a phenomenon in nature, like a flower or a snowflake whose vegetable or earthly origins are an inseparable part of their beauty.