By André Bazin
André Bazin’s writings on cinema are one of the so much influential reflections at the medium ever written. however, his severe pursuits ranged greatly 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 power, social impression, and dating to present artwork forms—have been translated the following for the 1st time in English with notes and an advent by way of major Bazin authority Dudley Andrew. those essays exhibit Bazin’s astute method of various visible media and the relevance of his serious proposal to our personal period of latest media. a thrilling better half to the basic what's Cinema? volumes, André Bazin’s New Media is superb for school room use and important for somebody drawn to the heritage of media.
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Extra info for André Bazin's New Media
Bazin could praise the operations of a particular exhibitor for trying to present ﬁlms for optimal viewing, but he generally 22 / Introduction excoriated the more abundant penny-pinchers, who were primarily concerned with simplifying their routine and selling more ice cream. 12 With enough access to capital to unilaterally renovate the medium just when it suits them, deploying inventions that may have been around for some time, Hollywood studios make momentous decisions with their stockholders, more than their directors or even their public, in mind.
Unquestionably, unforeseen technical variables could deeply modify the givens of the problem. Color will end up becoming standard, as might 3D, even if its recent failure leaves one thinking that the public had little use for it, at least when, against its nature, it is forced to emerge within the frame of a screen. Let’s not forget that television does not exist in itself, any more than cinema does: it is nothing but perhaps a provisory form of contemporary spectacle. So one can hardly speak of it as 37 38 / The Ontology and Language of Television one does of theater or painting, whose essences, beyond technology, remain human, hence eternal.
Technology never simply appears; it is called into existence by circumstances, even if its availability precedes those circumstances. The historiographic debate he held with Sadoul (and that continues to this day) was more than academic. Bazin made his readers recognize that they were living in a tumultuous media storm, the outcome of which was worth speculating on, even if there was little that critics and ﬁlmgoers could do to change things, particularly if they lived outside the United States, where the future most likely would be decided.
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