“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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Photography affects us like a phenomenon in nature, like a flower or a snowflake whose vegetable or earthly origins are an inseparable part of their beauty.
André Bazin, “The Ontology of the Photographic Image” () – Jamie L. Brummitt, PhD
Because, however, pyramids and labyrinths could be pillaged, statuettes were developed as substitute mummies in case anything were to come of the real one.
They freed the plastic arts from their obsession with likeness. Why do I think so? Leave a Reply Cancel reply Your email address will not be published.
They are still magical because they still create worlds. 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.
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
Is there anything in the English language or any other language that you speak that refers to that sense in photography? FYI — I read the biographical information in Wikepedia.
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. Notify me of thf comments via email. Another point of difficulty Bazin encounters is that of a causal link. By continuing to use this website, you agree to their use. 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
However I believe that this point is too harsh. It was natural, therefore, to keep up appearances in the face of the reality of death by preserving flesh and bone.
The opposite is true for Benjamin. 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 pntology other hand is so successful in re-producing reality without much intervention of man.
No matter how skilful the painter, his work was always in fee to an inescapable subjectivity. It was meant to awaken people from a false reality and a false consciousness. In the fifteenth century, Western painting turned from a concern with spiritual realities and aesthetics photographix one in which spiritual expression is combined with an imitation of the outside world that is as close as possible to reality.
Photography creates a realism that is not of phktographic world. Painting could not escape the subjectivity of the artists because true likeness could not be achieved through the human hand.
The process might reveal that at the origin of painting and sculpture there lies a mummy complex. The Ontology andde the Photographic Image 1. He states that there is a basic psychological need in man to outwit time and preserving a bodily appearance is fulfilling this desire.
In the race of immortalizing humanity, painting and sculpture could only create the illusion of cheating death but photographic re-production could take out a moment in a given time and space. Fill in your details below or click an icon to log in: Just another Sites at Lafayette College site. To Bazin photography makes us see ijage world anew. 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 onrology re-producing the reality photograph.
André Bazin: The Ontology of the Photographic Image | Santosh Korthiwada –
This being said, photography and cinema have freed mankind from the obsession of illusion in painting because they themselves satisfy our obsession with realism.
In my answer to Question 2, I had mentioned that Bazin was a contemporary to Diane Arbus and though he was born 5 years onttology Diane, he died of leukemia at an young age of 40 years photographid seven months. But in the s, photographs of dead bodies were used like Egyptian statues as substitutes for dead bodies.
Thus, by providing a defence bazn the passage of time it satisfied a basic psychological need in man, for death is but the victory of time.
The artist and his genius are not present in photography like in painting. Summary In ancient Egypt the plastic arts, like statuary, were substitutes for lmage bodies. In fact, this is what Bazin seems to argue when he suggests that they are hallucinations.
They construct objectivity and realism through mechanical reproduction. University of California Press Ltd,pp.