By André Bazin
André Bazin’s writings on cinema are one of the such a lot influential reflections at the medium ever written. nonetheless, his serious pursuits ranged largely 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 creative strength, social impression, and dating to current artwork forms—have been translated the following for the 1st time in English with notes and an creation by means of best Bazin authority Dudley Andrew. those essays express Bazin’s astute method of a variety of visible media and the relevance of his severe inspiration to our personal period of recent media. an exhilarating spouse to the fundamental what's Cinema? volumes, André Bazin’s New Media is great for lecture room use and important for someone drawn to the background of media.
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Additional info for André Bazin's New Media
2 (originally published as “A la Recherche de la télégénie,” Radio-Cinéma-Télévision 270 [20 March 1955]). Bazin earlier wrote about peasants in cinema in “Farrebique ou le paradoxe de réalisme,” Esprit 132 (April 1947). 7. See chap. 5. 8. In 2003 a full kinescope of this live show was discovered, so we have an opportunity not afforded Bazin to compare the two versions, but his point remains. The live TV version was directed at “you out there” in a way that cinema cannot replicate. 9. , Cahiers du Cinéma: The 1950s (Cambridge, MA: Harvard University Press, 1985), 197–198.
While digital platforms and formats may be more numerous and more intricate than anything he had to deal with, Bazin would have known how to locate and celebrate artistic expression arising out of—indeed, because of—new technological and commercial constraints. His ecological perspective aims to circle in on the artworks for which, putatively, the system exists. The tension between system and work is endemic to the arts, whether traditional or postmodern. A symptomatic analysis of the most challenging ﬁlms and TV series not only evokes the three-dimensionality and breadth of various media situations, but suggests that human understanding can sometimes transcend, and should never ignore, those media and their situations.
Bazin conducted his interview just as Moussy was putting the ﬁnal touches on the script he prepared with François Truffaut for Les 400 Coups (The 400 Blows), a ﬁlm famous for featuring an ordinary boy playing someone like himself, improvising an encounter en direct with the psychologist, and running toward the beach before turning back to look at his director and at us in perhaps the most famous openended ending in cinema. In an oft-cited instance of pathos or cosmic irony, Bazin died the ﬁrst day Les 400 Coups was in production.