“The Ontology of the Photographic Image” examines how the plastic arts preserve humans and reality through representation. Photography. In a series of articles I will explore Bazin’s essays. The first article will be: The Ontology of the Photographic Image. If the plastic arts were put. The Last Things before the Last (). The Ontology of the Photographic. Image . Andre Bazin. If the plastic arts were put under psychoanalysis, the practice of.

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Both prefer the Real.

The instances themselves are not real. It has no depth but it has breadth. However, it is my opinion that though, Bazin generalized mummy complex to humankind, he himself was somehow fascinated with the concept of human immortalization after death and the various ways people tried to achieve it via painting, sculpture etc. There is a tree. They both create realities in their re-presentations. Email required Address never made public.

So Deleuze following the Stoics adds a fourth relation or expression: It is not the world. Similarly, Bazin refers to surrealism photography as a means of awakening people from the false reality and false consciousness of photography.

Bazin, I think, taps into something Deleuze identifies. While he does invoke some melodramatic flourishes of a destiny in the birth of imwge, the various works with which he identifies are not about the construction of ontoloyg enclosed totalities. Historiography This is what Walter Benjamin argued about photography and film.

If I get a chance in the exam your article will come in handy. They freed the plastic arts from their obsession with likeness. Discuss the French term for the lens objectif and its relation to the ontoogy sensibility.


The first article will be:. The artist and his genius are not present in photography like in painting.

André Bazin, “The Ontology of the Photographic Image” () – Jamie L. Brummitt, PhD

No matter how skillful the painter, his work was always in fee to an inescapable subjectivity. Photography and cinema replicates the physically real without the barrier that one encounters when admiring a painting or sculpture. Skip to main content. Now Bazin is not interested in the relationship between shots but in the shots themselves. On this issue, Bazin has been superseded by decades of critical theory and criticism that have demolished notions of an objective reality that can be represented truthfully.

By continuing to use this website, you agree to their use. So, rather than supplanting painting and sculpture by doing their jobs more effectively, photography took on those aspects which plastic arts could perform less efficiently.

That residual belief in an inherent difference between, for instance, live action footage and computer-generated characters might be a holdover from Bazinian ideas of the fundamentally objective ontology of the photographic image. Bazin certainly leverages that formula and it is a common understanding or misunderstandingthat the photographic image is an image of that which is understood to have caused the image.

The first article will be: He gets the difference between photographic images and other types of images. 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. South Yorkshire England View all posts by A.

Enter the email address you signed up with and we’ll email you a reset link. This objective production affected our psychology of the image. For example, Descartes formula is:. He thinks that what makes painting inferior is the excessive struggle of the artist, with so much hands-on involvement nazin 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.


Influential Theorists: Andre Bazin – The Ontology Of The Photographic Image

Bazin also believes that, because of the technical and scientific method of photography, the aesthetic experience derived is much more in-line with personal perception. The gun in the bushes of Blow Up, represents the unconsciousness of an otherwise conscious fashion photograph. I think therefore I am I manifest think denotation therefore signification I manifest am denotation One could just as easily propose: Andre Bazin is undoubtedly a famous figure in film criticism and film theory.

You are commenting using your WordPress. Photography and film can make us believe things that may or may not be not real. Painting was onrology, as it turned out, to photographiv us photographlc and this illusion was reckoned sufficient unto art. Bazin argues that painting shows a human touch unseen in photography.

Another point of difficulty Bazin encounters is that of a causal link. I disagree if he meant it in literal sense. And worth coming back to later when I have time. It was natural, therefore, to keep up appearances in the face of the reality of death by preserving flesh and bone.

In the race of immortalizing humanity, painting and sculpture could only create the illusion of cheating death but photographic or could take out a moment in a given time and space.