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. “The Ontology of the Photographic Image” examines how the plastic arts preserve humans and reality through representation. Photography.
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The instances themselves are not real. The idea no longer exists. They construct objectivity and realism through mechanical reproduction. Photography and cinema are plastic realisms. While Bazin is probably not someone up on quantum physics, it is nevertheless quantum physics which demonstrates an important disjuncture between the comprehension of a real as prior to an image and the image itself as a reality.
He states that there is a basic psychological need in man to outwit time and preserving a bodily appearance is fulfilling this desire. The relationship is one of equivalence. Leave a Reply Cancel reply Enter your comment here They are still magical because they imaeg create worlds. The Ideology of Realism: 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 thd attention and consequently to my love.
Remember me on this computer. The fact that a human hand intervened cast a shadow of doubt over the image. Post was not sent – check your email addresses! Probably, his worsening health condition and his immense love for photography and cinema drove him into a philosophical contemplation about death and reach a conclusion that photography is the last word in argument with death.
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 baziin intervention of man.
However I believe that this point is too harsh. There is no functional relationship between Platos Forms and the Stoics Impressions. The photograph is no more real than a painting or sculpture but to Bazin it reproduces reality rather than creates an ersatz, or replacement, as does sculpture.
This being said, photography and cinema have freed mankind from the obsession of illusion in painting because they themselves satisfy our obsession with realism.
For the surrealists this something rather than nothing was an example of what they otherwise understood as the unconscious. Save my name, email, and website in this browser for the next time I comment. The dog peeing on the tree represents the idea of such.
By continuing to use this website, you agree to their use. University of California Press Ltd,pp. The point for Bazin is that photography and film are distinct as art forms because of their very basis in mechanical processes which take away the element of human activity. And in most debates the image, in itself, is not an issue. Rather, it is in what the image signifies that is at issue: The mind of God. In a platonic world it is Forms formulas, ideas, classifications, structures, blueprints that are real whereas specific objects are just instances copies, reproductions, images, impressions of the real.
I think therefore I am I ontklogy think denotation therefore signification I manifest am denotation One could just as easily propose: Is there anything in the English language or any other language that you speak that refers to that sense in photography?
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To preserve, artificially, his bodily appearance is to snatch it from the flow of time, to stow it away neatly, so to speak, in the hold of life. It is not the I that speaks. Photography and cinema replicates the physically real without the barrier that one encounters when admiring a painting or sculpture. In Platos version of the world it is the relationship between things that is real whereas the things themselves are not.
André Bazin: The Ontology of the Photographic Image | Santosh Korthiwada –
Links Peter Matthews puts up a strong defence of Bazin here. Now Bazin is not interested in the relationship between shots but in the shots themselves. It forms this link by having a direct, indexical relationship between image and referent. Again, the essential factor in the transition from the baroque to photography is not the perfecting of a physical process photography will long remain the inferior of painting in the reproduction of colour ; rather does it lie in a psychological fact, to wit, in completely satisfying our appetite for illusion by a mechanical reproduction in the making of which man plays no part.
Enter the email address you signed up with and we’ll email you a reset link. In the ontologyy century, Western painting turned from a concern with spiritual realities and aesthetics to one in which photogrwphic expression is combined with an imitation of the outside world that is as close as possible to reality. A comprehension takes place in relation to a given image and one may or may not project that comprehension as the cause of the image.
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When these theories are put into practice, as you suggest, they have to flex to take account of all the variations and modes to which filmmakers can apply the apparatus. On this issue, Bazin has been superseded by decades of critical theory and criticism that have demolished notions of an objective reality photograhic can be represented truthfully. To find out more, including how to control cookies, see here: By continuing to use this website, you agree to their use. The Ontology of the Photographic Image 1.
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Influential Theorists: Andre Bazin – The Ontology Of The Photographic Image
And Bazin believes that this reproduction is treated, commonly, as if it is the object. I am therefore I think Or more perversely: No matter how skilful the painter, his work was always in fee to an inescapable subjectivity. From tests we create an idea of reality to which the signified conforms or does not conform.