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 greatly and encompassed the “new media” of the Nineteen Fifties, together with tv, 3D movie, Cinerama, and CinemaScope. Fifty-seven of his reports and essays addressing those new technologies—their inventive power, social impact, and dating to latest artwork forms—have been translated right here for the 1st time in English with notes and an advent via major Bazin authority Dudley Andrew. those essays express Bazin’s astute method of quite a number visible media and the relevance of his severe idea to our personal period of latest media. a thrilling better half to the fundamental what's Cinema? volumes, André Bazin’s New Media is great for lecture room use and very important for an individual drawn to the background of media.
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Extra info for André Bazin's New Media
But with its threecamera rig needing to be carefully set up and synchronized, Cinerama was so clumsy and expensive to deploy that only three titles had reached Europe when he wrote about the format in 1955, and all told, only eight would be made by 1962, when How the West Was Won came out as its swan song. With so much money at stake and so many requirements for each rare title to fulﬁll, producers literally called the shots after employing whole committees to arrive at serviceable scripts. Struck by the aerial tour of the United States in Cinerama Holiday, Bazin declared himself impressed by the format’s “realism of space,” which immerses viewers in a nearly unframed world, but he found little in the ﬁlms to surprise him.
In his early years Marc Allégret was André Gide’s companion, making Voyage au Congo, a feature documentary about their 1925 adventure. He went on to an important career as a director, discovering such stars as Simone Simon. In the last year of Gide’s life he made Avec André Gide, to which Bazin devoted one of his most important articles, collected in volume 1 of Qu’est-ce que le cinéma? 3. Henry de Montherlant (1895–1972) was a premiere playwright and essayist who also wrote highly successful novels before World War II.
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. Without going back to Louis Lumière, who told Georges Méliès that his invention had no future, you only need to read what was written about cinema around 1925–27.