As time has evolved, the means of replicating reality have also evolved. Ever since cave drawings, humans have tried to make sense of their surroundings through artificial means. We can move through time and see this process evolve from printmaking, to painting, to photography, and to its most compelling form to date: cinema. In the task of duplicating reality, cinema has surpassed all other forms of representation. Considering the other mediums mentioned above we see that cinema is the first medium capable of capturing movement, and nowadays also sound. André Bazin may be the most influential critic to ever write about this process. HOW…. He states: “Bazin imagines each rung of the evolutionary ladder of cinema as a step towards a more realistic representation of the world (sound, color, depth of field, 3-D, etc.).” Since Bazin believes that the origins of an art reveal its nature, cinema's pursuit of realism supports his claim to an objective and pure cinema (…). With the term pure cinema Basin refers to the truest form of recreation of reality. This myth of pure cinema, which arose from the beginnings of cinema, represents the point towards which standard cinema has progressively evolved. Bazin sees cinema as “an idealistic phenomenon” and only consequently technical. Being a humanist, he believes that the idea precedes the invention and is therefore superior to the technical means used to create it (…). For Bazin, cinema is intrinsically realistic even if the potential for human interference is always present. The myth of total cinema that Bazin talks about concerns the belief that human psychology will always leave humans with the need to portray reality, perhaps as a way to combat mortality. Bazin explains the relationship between the filmed image and......the center of the paper......more absorbed into the film. While watching a car crash, it is actually unrealistic to sit in a chair. Although the movement will not be able to recreate any of the effects that should accompany this example of a car crash, and fortunately, it will enhance the experience of seeing an action-related mise en scene. The question then remains: what applications does Bazin's work have in today's cinema? The reality that cinema captures is largely the subjective reality of the filmmakers' distinct worldview and not Bazin's "objectivity in time". It could be said, however, that cinema concerns different levels of representation and that the differences between fiction and reality, between subjective and objective, no longer exist. However, you still haven't decided whether modern cinema is worth considering as a narrative work of art or a corporate indulgence.