“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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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 objectivity and reality are a product of impassive mechanical reproduction.

By continuing to use this website, you agree to their use. Benjamin refers to Dadaism as an attack on reason, logic, materialism, and nationalism through the arts. Photography did not perfect the physical process color, etc.

They are still magical because they still create worlds. Photography presents itself as objective and real.

No matter how skilful the painter, his work was always in fee to an inescapable subjectivity. Bazin also believes that, because of the technical and scientific method of photography, the aesthetic experience derived is much more in-line with ontollgy perception.

Leave a Reply Cancel reply Enter your comment here What Bazin did not go into much detail in the argument is about his personal opinion about this topic.


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. 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 yhe is caught between the aesthetic and a deception aimed at fooling the eye.

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

Post was not sent – check your email addresses! Santosh Kumar Korthiwada Instructor: Photography and cinema are plastic realisms. FYI — I read the biographical information in Wikepedia. The first article will be: 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. Distinguishing between photography and the traditional plastic ov, sculpture and painting, by positing that adnre 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.

“Ontology of the Photographic Image” by André Bazin

He compares this practice to the birth of the plastic arts. This is what Walter Benjamin argued about photography and film. Fill in your details below or click an icon to log in: Help Center Find new research papers in: They both create realities in their re-presentations.

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Why do I think so?

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

Save my name, email, and website in this browser for the next time I comment. Caligari show this trend with certain scenes being coloured differently.

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 died of leukemia at an young age of 40 years and seven months. 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.

We accept the object before us in photography as credible, really existing, and actually re-presented. Photography and film are hallucinations and un-real worlds.

For Bazin, onfology tricks of photography and film have no moral affects. The artist and his genius are not present in photography like in painting. Painting could not escape the subjectivity of the artists because true likeness could not be achieved through the human hand.

Remember me on this computer.