“The Ontology of the Photographic Image” examines how the plastic arts preserve humans and reality through representation. Photography. In a series of articles I will explore Bazin’s essays. The first article will be: The Ontology of the Photographic Image. If the plastic arts were put. The Last Things before the Last (). The Ontology of the Photographic. Image . Andre Bazin. If the plastic arts were put under psychoanalysis, the practice of.

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Back to Bazin Part 1: The Ontology of the Photographic Image

It is the Form which is real because eternal, universal, infinite, etc. I think the key must lie in the notion that the photograph takes its subject out of onyology and time. Your email address baziin not be published. Photography, according to Bazin, evaporates the human touch: I may be defeating my own purpose here. All the arts are based on the presence of man, only photography derives an advantage from his absence. If I get a chance in the exam your article will come in handy.

They are still magical because they still create worlds. We accept the object before us in photography as credible, really existing, and actually re-presented.

In fact if as Harold Bloom says he invents the human, then he is as art-object more powerful, more real, than any buried prince. In the fifteenth century, Western painting turned from a concern with spiritual realities and aesthetics to one in which spiritual expression is combined with photogeaphic imitation of the outside world that is as close as possible to reality.

I think that the indexicality and meaning of the image are still important as far as spectatorship is concerned. The arts no longer care about survival after death. This site uses cookies.


They lose their aura originality, subjectivity, production history and trick the masses into believing that a constructed reality is reality. It is not God. The photographic image is the object itself, the object freed from the conditions of time and space that govern it. Notify me of new comments via email. In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies. One can take any of these as grounding any of the others. A process shot, for example, may appear to an observer to be an impression of a giant ape astride a skyscraper but, in reality, it is no such thing.

But what photoggraphic this for us science-minded people? Still, the point is photogrzphic only photography gains an advantage from the absence of man. Photography and film can make us believe things that may or may not be not real. 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.

Photography affects us phltographic a phenomenon in nature, like a flower or a snowflake whose vegetable or bzzin origins are an inseparable part of their beauty. It has no depth but it has breadth. This is not in dominant usage but it has historical currency and it is the sense in which Bazin uses the word.

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. In a footnote, here, he associates this new true realism with Eisenstein but photograpphic with Russian Socialist Realism. It is, of course, knowledge and context.

For the first time, the image of things is likewise the image of their duration. Benjamin refers to Dadaism as an attack on reason, logic, materialism, and nationalism through the arts. That is how the image is or becomes the object itself, no matter how distorted or physically degraded the image actually is. Sense is incorporeal not existing. This site uses cookies. Andre Bazin is undoubtedly a famous figure in film criticism and film theory.


The objective nature of photography confers on it a quality of credibility absent from all other picture-making.

Aesthetics Today: Is a photograph a mummy? Bazin on ontology..

Reblogged this on panyingfei. Andre Bazin’s famous “The Ontology of the Photographic Image” argues that the origin of painting and sculpture lies in what he calls “the mummy complex.

Bazin, I think, taps into something Deleuze identifies. The Ideology of Realism: Painting could not escape the subjectivity ontolovy the artists because true likeness could not be achieved through the human hand. 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. Ontologh of the photochemical relationship between the image and the represented object, the image is always selected.

Leave a Reply Cancel reply Your email address will not be published. The first article will be:. Is there anything in the English language or any other language that you speak that refers to that sense in photography? The instances themselves are not real.

In this sense, a photograph is no more real than a painting or sculpture.

Tintoretto and perhaps Caravaggio. Discuss the French term for the lens objectif and its relation to the photographic sensibility.