By André Bazin
André Bazin’s writings on cinema are one of the such a lot influential reflections at the medium ever written. on the other hand, his serious pursuits ranged extensively 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 strength, social impression, and courting to latest paintings forms—have been translated right here for the 1st time in English with notes and an creation through major Bazin authority Dudley Andrew. those essays exhibit Bazin’s astute method of a number of visible media and the relevance of his severe suggestion to our personal period of latest media. an exhilarating better half to the basic what's Cinema? volumes, André Bazin’s New Media is superb for school room use and important for someone drawn to the background of media.
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I discuss the private issue of sex through its representation on the domestic screen—television—and focus on two TV drama series. In Chapter 3, I analyze the ways in which cultural producers invest in portrayals of marriage and family in order to call people’s attention to the private space and divert people’s attention from public affairs. This chapter, contextualizing the zhuxuanlü TV drama Golden Marriage against the backdrop of marital crises in the social reality, SARFT’s Anti-Vulgarity Campaign, and the state ideology of social harmony, investigates the qualities of an ideal marriage.
The narrative of Ren’s son in danger successfully adds suspense and excitement to the film, but more importantly, it accentuates Ren’s absolute integrity and altruistic perseverance in her work. Ren seeks no good for herself; rather, she puts justice and service to society before her own life and safety and even before the well-being of her kin. The kidnapping suggests the conflict between family and work or serving the greater good and the lesser good. To have such a devoted government officer seems ideal to the public but maybe is disastrous to the officer’s family.
The dilemma he faces is whether to help people or not, given that there are many dishonest people on the roads who are out to rob delivery trucks. When he needs help, he encounters greedy people who will not aid him without payment, but eventually, a group of students voluntarily helps restart his truck. This voluntary spirit moves Qiao’s son to follow in Lei Feng’s footsteps. The temporal structure in the film illustrates a highly selective and political outcome. The second story jumps right to 1978, skipping the chaotic ten years of social instability during the Cultural Revolution and arriving exactly at the year the Economic Reforms began.