André Bazin's New Media by André Bazin

By André Bazin

André Bazin’s writings on cinema are one of the so much influential reflections at the medium ever written. in spite of this, his serious pursuits ranged broadly and encompassed the “new media” of the Nineteen Fifties, together with tv, 3D movie, Cinerama, and CinemaScope. Fifty-seven of his experiences and essays addressing those new technologies—their inventive strength, social impression, and courting to current paintings forms—have been translated right here for the 1st time in English with notes and an creation by means of major Bazin authority Dudley Andrew. those essays exhibit Bazin’s astute method of various visible media and the relevance of his serious suggestion to our personal period of latest media. a thrilling significant other to the fundamental what's Cinema? volumes, André Bazin’s New Media is superb for school room use and important for an individual drawn to the background of media.

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1. Louise de Vilmorin (1902–1969) was a wealthy writer once engaged to Saint-Exupéry. Her 1951 novel Madame De . . became a film masterpiece by Max Ophüls. She was very close to Jean Cocteau and, The Ontology and Language of Television / 47 through him, to Truffaut. Her final years were spent as André Malraux’s companion. 2. Roger Leenhardt, film critic and Bazin’s predecessor at Esprit (the leftist Catholic monthly journal begun in 1932 and still prominent today) was also a documentary filmmaker.

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. What if painters were required to work within frames of a certain shape or size? Well, this is the case for filmmakers. Of course, one can blow up a 35mm image to any size desired, but it barters luminosity and definition as it grows. Bazin favored VistaVision because it doubled the area of the celluloid image, allowing for a far denser and a much larger one too, if you had a powerful enough projection source.

André Bazin, “The Myth of Total Cinema,” What is Cinema? (Berkeley: University of California Press, 2004), 20. 14. 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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