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A lesser-known aspect of André Bazin’s film criticism is his love of science films. Bazin’s key reflection in this regard, ‘Le film scientifique: beauté du hasard’, argues that the science film is not just another kind of filmmaking; rather, placed under the scrutiny of Bazin’s cinephilic, Surrealist gaze, the science film is revealed as the repository of true cinematic beauty. A similar approach to the science film is evident in contemporary avant-garde practice. Gustav Deutsch’s Film ist. 1–6 (1998), the first part of an ongoing compilation project, reveals an affinity with Bazin’s appreciation of the science film. Taken together, these approaches suggest an alternative strand of documentary history that is located at the intersection of scientific and avant-garde filmmaking practices.
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