ABSTRACT
The previous chapters show that Bazin was never keen on all-inclusive formulas for studying film; this chapter illustrates that he even found himself occasionally either defending his opponents or reconsidering his own arguments. I elaborate on the relationship between form and content, with a specific emphasis on advertisement and poetry, which is crucial to understanding Bazin’s methodology. This discourse in fact exceeds Bazin’s context: it surfaces decades later in the work of Serge Daney and returns today in discussions on 3-D (and even to a certain extent, Virtual Reality). The analyses in this chapter follow Bazin’s lineage and should show that his critical work stands the test of time and the tide of evolution of film.
