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Download e-book for kindle: 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 Fifties, together with tv, 3D movie, Cinerama, and CinemaScope. Fifty-seven of his studies and essays addressing those new technologies—their inventive strength, social effect, and courting to present paintings forms—have been translated right here for the 1st time in English with notes and an creation by way of major Bazin authority Dudley Andrew. those essays exhibit Bazin’s astute method of a number of visible media and the relevance of his severe notion to our personal period of latest media. an exhilarating spouse to the fundamental what's Cinema? volumes, André Bazin’s New Media is superb for school room use and important for someone attracted to the heritage of media.

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Most people believe it is the sweet tale of young love that makes this play so tragic. But consider this: would we feel the same about this play if Romeo and Juliet lived to get old and bicker? The spectacular final sequence, in which both Romeo and Juliet take their own lives, is the real heart of the play. It is the inevitable end to a perfect love. That sense of inevitability is, in fact, the key to the play’s magic. The climax of Romeo and Juliet achieves its poignancy because it feels as if it couldn’t have ended any other way.

He dies suddenly, with the truth on his lips. The cathartic scene is a fundamental to the story. It allows Lear a moment to recognize what has happened and why. He has needlessly destroyed his kingdom, realm, and family. The recognition of his mistake heightens the tragedy, because his one moment of true clarity is also the moment of his death. Perhaps the best family drama ever filmed, The Godfather (1972) trilogy begins with Michael (Al Pacino), a decorated war hero and a college boy, bringing his girlfriend Kay to his sister’s wedding.

CORDELIA: Nothing. LEAR: Nothing will come of nothing: speak again. CORDELIA: Unhappy that I am, I cannot heave My heart into my mouth. I love your majesty According to my bond; no more nor less. (Act 1, scene 1) Cordelia knows what’s expected of her but she refuses to play the game. She is bent on telling the truth — in striking contrast to her sisters, who are willing to say whatever is necessary to get what they want. Furious, Lear banishes the one daughter who actually loves him. The opening scene exposes the root of the family problem: Lear doesn’t know his own children.

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