Germany Year Zero

• minimal drama → distance
• drama isn’t treated dramatically
• Bazin starts with ‘idealised’ documents of people’s war experience
• evolves to “spontaneous creations of the actors”
• similarity to the 400 Blows
• child’s perspective, subjective view vs. distance
• Subject is the world, not narrative or story
• In 400 Blows, every adult is ‘evil’
• In Year Zero, sympathy for “everyman”.
• A naivety due to not-real actors
• Bazin: tendency to not make moral judgements
• cinema of questions rather than answers
• Cinema of “revolutionary humanism”
• phrenomendogy of the cinema
• Soviet montage a type of neorealism?
• Montage sends an objective message, an argument (dialectic)
• Neorealism lets the audience “ponder” and portrays the “concrete”