“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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However the mechanical process of photography was produced by the human hand and could be anddre as an extension of the human touch — the human touch made mechanical.
André Bazin: The Ontology of the Photographic Image | Santosh Korthiwada –
However I fhe agree with your statement: 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. Similarly, Bazin refers to surrealism photography as a means of awakening people from the false reality and false consciousness of photography.
Photography and cinema replicates the physically real without the barrier that one encounters when admiring a painting or sculpture. However I believe that this point is too harsh. However, if one reads the article carefully, Bazin too was not in total agreement with his statement. 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.
“Ontology of the Photographic Image” by André Bazin
Historiography This is what Walter Benjamin argued about photography and film. Summary In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies.
Do you agree or disagree? 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.
Influential Theorists: Andre Bazin – The Ontology Of The Photographic Image – The Motley View
Your email address will not be published. No matter how skilful the painter, his work was always in fee to an inescapable subjectivity. The Ontology of the Photographic Image 1.
Save my name, email, and website in this browser for the next time I comment. Email required Address never made public. Distinguishing between photography and the traditional plastic arts, sculpture and painting, by positing that photography is a reproduction and not an ersatz fails; photography — as we have both come to the position — is both a replacement and a reproduction of reality.
In this sense, a photograph is no more real than a painting or sculpture.
Photography and cinema are plastic realisms. They are still magical because they still create worlds. Post was not sent – check your email addresses! Photography and film are hallucinations and un-real worlds.
Log In Sign Up. Painting could not escape the subjectivity of the artists because true likeness bazn not be achieved through the human hand.
Jamie L. Brummitt, PhD
Bazin uses the French word objectif, which means the lens of a camera, and overtly, in the French text, plays on this meaning. The object becomes photograph and photograph becomes the object. Benjamin refers to Dadaism as an attack photovraphic reason, logic, materialism, and nationalism through the arts. Photography creates a realism that is not of this world.
Reblogged this on panyingfei. In my answer to Question 2, I had mentioned that Bazin was a contemporary to Diane Arbus and though he was born 5 years before Diane, he tne of leukemia at an young age of 40 years and seven months.