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By arguing that this dissident Catholic's worldview is anti-anthropocentric, Angela Dalle Vacche concludes that André Bazin's idea of the cinema recapitulates the histories of biological evolution and modern technology inside our consciousness, unsettling our routines in productive ways and expanding our sense of belonging to a much larger picture.
Angela Dalle Vacche is Professor of Cinema Studies at the Georgia Institute of Technology in Atlanta. She has written extensively on the representation of history in film; on Italian women and early cinema; on intermediality and color. She is the author or editor of such works as Film, Art, New Media: Museum without Walls? (2012) and Diva: Defiance and Passion in Early Cinema (2008), and is currently developing a book on African cinema.
Preface and Acknowledgements
Introduction: The Soul of Cinema
The Structure of the Book
Conceptual Key Words
Cinema's Special Eye
Lady in the Lake
Cinema as Mind-Machine
Art
A Christological Ontology
Impure Cinema
Pure Cinema
The Postwar Art Documentary
Painting as Object, Cinema as Event
Frame and Screen
The Objects of Still Life and the Camera Lens as Object
From Painting to Biology
Science
Darwin and Bergson
Evocative Affinities
Bergson, Einstein, Heisenberg
Geometry and the Snowflake
Mathematics and the Policier
Miraculous Mathematics
Neorealism and Calculus..
Michael Faraday
Religion
Immanence and the Supernatural
Catholics and Communists
Taking Risks
Looking at Oneself from the Outside
Charlot and Cabiria
Saint Sulpice and Max Ophuls
Robert Delannoy's Religious Adaptations
Bazin's Ontology, Bresson's Stylistics
Epilogue: Wind and Dust
Anti-Anthropocentric Anthropocosmomorphism
The Wild Grass of Saintonge
Bibliography: Primary and Secondary Sources
Primary Sources: Articles by André Bazin, cited in each chapter
Primary Sources: Compilations of essays by André Bazin
Secondary Sources
Index of Names and Films
List of Illustrations
