“The Ontology of the Photographic Image” examines how the plastic arts preserve humans and reality through representation. Photography. Beginning his essay, André Bazin dives right into the practice of embalming, how ancient Egyptians used to mummify bodies and keep them. GLA Fall Take Home Mid-term Assignment Santosh Kumar Korthiwada Instructor: Lisa Levine The Ontology of the Photographic Image – by.
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Bazin continues to explain that the desire to see reality, though it is merely an illusion created via painting, is a mental need and realism in art is caught between the aesthetic and a deception aimed at fooling the eye.
I think Bazin, even if he accepted that film is often modified, would argue that the best cinema would attempt to capture reality as it is. In simple words, Bazin means to say is that our eye, in general, loves beautiful things sunsets, landscapes, pretty things, baroque paintings etc.
André Bazin, “The Ontology of the Photographic Image” () – Jamie L. Brummitt, PhD
Realism strips bare those preconceptions which, to Bazin, we accumulate through the passage of time like dust settling on furniture. I disagree if he meant it in literal sense. Santosh Kumar Korthiwada Instructor: Your email address will not be tne. In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies. Photography did not perfect the physical process color, etc. Click here to sign up.
You are commenting using your Twitter account. The Ontology of the Photographic Image 1.
The first article will be:. Photography affects us like a phenomenon in nature, like a flower or a snowflake whose vegetable or earthly origins are an inseparable part of their beauty.
Photography and cinema replicates the physically real without the barrier that one encounters when admiring a painting or sculpture.
Photography tricks us because its mechanical ontokogy seems objective and reproduces the model.
Sorry, your blog cannot share posts by email. Historiography This is what Walter Benjamin argued about photography and film. For Bazin, the tricks of photography and film have no moral affects. They construct objectivity and realism through mechanical reproduction. In this sense, a photograph is no more real than a painting or sculpture.
Influential Theorists: Andre Bazin – The Ontology Of The Photographic Image – The Motley View
They are still magical because they still create worlds. Bazin uses the French word objectif, which means the lens of a camera, and overtly, in the French text, plays on this meaning. Only the impassive lens, stripping its object of all those ways of seeing it, those piled-up preconceptions, that spiritual dust and grime with which my eyes have covered it, is able to present it in all its virginal purity to my attention and consequently to my love.
Andre Bazin is undoubtedly a famous figure in film criticism and film theory. Reblogged this on panyingfei. Photography ranks high in the order of surrealist creativity because it produces an image that is a reality of nature, namely, an hallucination that is also a fact. Why do I think so? Thus, as a final blow, Bazin makes the assertion that photography is the most important event in the history of the plastic arts and then leads us into his article on the development of the language of cinema and how we analyze it.
The Ideology of Realism: Thus, by providing a defence against the passage of time it satisfied a basic psychological need in man, for death is but the victory of time. According to Bazin, today no one recognizes the ontological link between the body and a representation: Log In Sign Up. What Bazin means here is that the reality is automatically captured by the mechanical object called a lens and the man photographer is absent from the entire process of re-producing the reality photograph.
With the birth of photography came the birth of photo modification and editing and films such as The Cabinet of Dr. It should be noted however that Bazin invests far too much faith in the technical process of developing film as an objective and not subjective process. Therefore to Bazin photography and Cinema, in the realist style, is a gust of wind which blows away the dust that settles on our way of seeing.
“Ontology of the Photographic Image” by André Bazin
Remember me on this computer. In the fifteenth century, Western painting turned from a concern with spiritual realities and aesthetics to one in which spiritual expression is combined with an imitation of the outside world that is as close as possible to reality. He thinks that what makes painting inferior is the excessive struggle of the artist, with so much hands-on involvement to make the painting as close as possible to reality and photography on the other hand is so successful in re-producing reality without much intervention of man.
This left painting torn between two ambitions—the expression of spiritual reality and symbol and the desire for duplication of the world around us.