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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This site uses cookies. It is the Form which is real because eternal, universal, infinite, etc.

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

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. We learn this from them, or we learn it ourselves, through investigation. And worth coming back to later when I have time.

Back to Bazin Part II: FYI — I read the biographical information in Wikepedia. Save my name, email, and website in this browser for the next time I comment. Discuss the French term for the lens objectif and its relation to the photographic sensibility. Notify me of new posts via email. In the Logic of Sense, Deleuze elaborates a fourth aspect of the proposition ghe the Stoics first discoveredand that others have rediscovered at different times and epochs.

But for the Stoics there is a functional relationship between an image impression and reality, irregardless of whether we are i,age of that relationship or not.

Jamie L. Brummitt, PhD

In this sense, a photograph is no more real than a painting or sculpture. He gets the difference between photographic images and other types of images. Let me try it out. They lose their aura originality, subjectivity, production history and trick the masses into believing that a constructed reality is reality. This always precipitates the most common criticisms of Bazin, that he posits film as an objective medium of record, whose truth claims hinge upon a privileged link to reality.


Sense becomes the domain of logic and dialectics, but now as an effect. However I would agree with your statement: He states that there is a basic psychological need in man to outwit time and preserving a bodily appearance is fulfilling this desire.

Just another Sites at Lafayette College site. 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. 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. Because, however, pyramids and labyrinths could be pillaged, statuettes were developed as substitute mummies in case anything were to come of the real one.

This left painting torn between two ambitions—the expression of spiritual reality and symbol and the desire for duplication of the world around us. Now interestingly enough, what is signified by a mirage, is actually water.

What is an image, on the other hand is the Imaginary. Photography and cinema are plastic realisms. 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. 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.

In Platos version of the world it is the relationship between things that is real whereas the things themselves are not. The fact that a human hand intervened cast a shadow of doubt over the image.

This is what Walter Benjamin argued about photography and film. Not even quantum physicists have worked out how to explain the existence of a photographic image. There is a dog peeing on the tree. Reality is transferred from the thing to the reproduction. South Yorkshire England View all posts by A. The solution is thr to be found in the result achieved but in the way of achieving it. It is, of course, knowledge and context.


Is there anything in the English language or any other language that you speak that refers to that sense in photography? The cart refers back to the painter and his paint. To find out more, including how to control cookies, thee here: Bazin photoographic believes that, because of the technical and scientific method of photography, the aesthetic experience derived is much more in-line with personal perception.

Painting could not escape the subjectivity of the artists because true likeness could not be achieved through the human hand.

For example, we might say that in reality a mirage is not of water on the horizon, but something that looks like water, due photographhic the refraction of light in very hot air. A photograph is of a specific moment in time and a specific place, while art can be of any moment in teh place which is why Bazin argues that a painting is more eternal than a photograph. The universe starting from scratch again.

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. The first article will be:. The difficulty we might have with Bazin is treating the equivalence he sees between objects and images as a figure of speech, and the ontological frame of reference as photograpjic so.

Fill in your details below or click an icon to log in: For Ontoligy, the tricks of photography and film have no moral affects.