By André Bazin
André Bazin’s writings on cinema are one of the so much influential reflections at the medium ever written. nevertheless, his serious pursuits ranged generally 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 inventive strength, social impact, and courting to present artwork forms—have been translated the following for the 1st time in English with notes and an creation by way of top Bazin authority Dudley Andrew. those essays express Bazin’s astute method of a number of visible media and the relevance of his serious concept to our personal period of recent media. a thrilling significant other to the basic what's Cinema? volumes, André Bazin’s New Media is superb for school room use and important for somebody attracted to the historical past of media.
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Extra resources for André Bazin's New Media
The past few weeks you could ﬁnd utterly opposed examples of such types, ﬁrst on Roger Louis’s rural show D’hier à aujourd’hui [From yesterday to today] and then on either Lectures pour tous [Books for everyone] or Trois objets, une vie [Three objects, one life]. Roger Louis’s program, instructive and useful though it may be, is probably not too attractive to spectators who are not 44 The Ontology and Language of Television / 45 directly involved with agricultural issues. It is usually composed of two distinct parts: the ﬁrst is a short documentary (shot, by the way, with aplomb and taste), and then comes a round table where Roger Louis talks with what are most often the farmers and rural technocrats we’ve just seen in the ﬁlm.
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. Critics and aestheticians considered it to be a speciﬁcally silent art, and the notion of a talking cinema seemed to them to be technically dubious and aesthetically contradictory.
Undoubtedly, great care must be taken with this approach. In any case, the notable experiment by Cl. ” Clearly this intimacy I speak of is as much linked to temporal presence as to spatial presence. In principle, this phenomenon is common to both radio and TV, but the perfection of sound reproduction makes the difference between the live and the recorded virtually indiscernible, except on certain news reports. On TV, however, there’s generally no technical reason to prefer the recorded, and furthermore we don’t yet have recording techniques perfect enough to make live and recorded material indistinguishable.