Download André Bazin's New Media by André Bazin PDF

By André Bazin

André Bazin’s writings on cinema are one of the so much influential reflections at the medium ever written. then again, his serious pursuits ranged commonly and encompassed the “new media” of the Fifties, together with tv, 3D movie, Cinerama, and CinemaScope. Fifty-seven of his reports and essays addressing those new technologies—their inventive capability, social impression, and dating to current paintings forms—have been translated the following for the 1st time in English with notes and an advent via top Bazin authority Dudley Andrew. those essays express Bazin’s astute method of more than a few visible media and the relevance of his serious concept to our personal period of latest media. a thrilling spouse to the basic what's Cinema? volumes, André Bazin’s New Media is superb for school room use and very important for an individual drawn to the historical past of media.

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Extra info for André Bazin's New Media

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16 Ads claim that in 3D, objects will invade the theater space, growing so large as to nearly strike the viewer’s eye, but Bazin was certain we would quickly become habituated to such moments, or tired of the few genres where such things occur in motivated ways. The format would need to take hold across genres, and directors would need to learn how to organize dramatic space on sets that the viewer looks into rather than at, as through a door that we aren’t quite invited through. He didn’t expect this to come about anytime soon.

From this point of view, television is perhaps the most moral of all the mechanical arts. Even if “tele-theater,” 42 / The Ontology and Language of Television “telecinema,” the “tele-varieties,” or even the television news are hardly in the end more than an adaptation of other arts or means of information through the intermediary of TV, there is one domain in which TV outdoes all other arts, including the radio, namely that of human testimony, that is, individual revelation. One of the best TV programs is that of Jean Thévenot, on which he asks personalities from the arts, medicine, or letters to speak about themselves in front of the camera.

Sure, he says, you might find more excitement if you ran off to the cinema to see a movie adapted from this novelist’s work, or to a gangster film dramatizing police procedures, but if you really had the novelist or the commissioner coming over for dinner, don’t you think you’d rather stay home and listen to their genuine voices and stories instead? If TV brings such people into our homes, go to the movies another day and enjoy their presence now. ’”7 These hopes for a virtual community of tele-spectators suggested an ethical dimension that Bazin believed could have a salutary rebound effect on the new medium’s older brother.

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