André Bazin's New Media by André Bazin

By André Bazin

André Bazin’s writings on cinema are one of the such a lot influential reflections at the medium ever written. on the other hand, his serious pursuits ranged extensively and encompassed the “new media” of the Fifties, together with tv, 3D movie, Cinerama, and CinemaScope. Fifty-seven of his studies and essays addressing those new technologies—their creative capability, social impression, and courting to latest paintings forms—have been translated the following for the 1st time in English with notes and an advent by way of major Bazin authority Dudley Andrew. those essays convey Bazin’s astute method of a variety of visible media and the relevance of his severe suggestion to our personal period of latest media. an exhilarating better half to the basic what's Cinema? volumes, André Bazin’s New Media is great for lecture room use and important for somebody drawn to the historical past of media.

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Just how domestic has TV remained in our own era? But his point had much more to do with the immediacy of meeting these French peasants in real time, knowing that they were breathing and talking right then on the other side of his TV set. ” He loved interview shows where a single person held forth without a cutaway and simply addressed the spectator in dialogue, with a proxy host who asked questions: an author presenting a book, or a police commissioner talking about his efforts in the community.

The notion that some portions of the image can be deemed “extraneous” appalled Bazin. Bazin extolled the possibilities of a larger image, believing, along with Eric Rohmer, that the medium’s mission was not to “signify” things but to “show” them; the larger the image, the more might be revealed. Widescreen could encourage viewers to use their eyes more actively in daily life. That is why he remained frustrated with the 35mm limit that had been arbitrarily imposed on an entire art form at its outset, before anyone could object.

See chap. 45 (originally published as “Un Nouveau Stade du cinéma en relief: Le relief en équations,” Radio-Cinéma-Télévision 131 [20 July 1952]). 15. See chap. ,” Esprit 207–208 [10 November 1953]). 16. See chap. 48 (originally published as “L’Homme au masque de cire: Fais-moi peur . . ” Le Parisien Liberé 2733 [27 June 1953]). PA R T ONE The Ontology and Language of Television 1 The Aesthetic Future of Television It is always imprudent to claim to imagine the future of a mode of expression that depends directly upon technical progress and is subordinate to the magnitude of its dissemination.

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