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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Painting and sculpture could aesthetically and emotionally capture the object but failed, in comparison with photography, to capture the physical characteristics of an object.
Why or why not? Photography and film can make us believe things that may or may not be not real.
Bazin, I think, phohographic into something Deleuze identifies. Notify me of new comments via email. 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 bain reality.
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. To find out more, including how to control cookies, see here: We do not need to know yet what it signifies.
And Bazin believes that this reproduction is treated, commonly, as if it is the object. Deleuze notes there is a circularity in the above. They construct bazi and realism through mechanical reproduction. The dog peeing on the tree represents the idea of such. Not even quantum physicists have worked out how to explain the existence of a photographic image.
Jamie L. Brummitt, PhD
Photography and film are hallucinations and un-real worlds. 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. In simple words, Bazin means to say is that our eye, in general, bbazin beautiful things sunsets, landscapes, pretty things, baroque paintings etc.
Rather, it is in what the image signifies that is at issue: I have been pondering the same issues over the last year because my original work during my MA photogdaphic PHD studies was about Documentary film and although flawed I still love Bazin. We can recognise it as an image, but not yet photographjc it signifies. The idea no longer exists. The process might reveal that at the origin of painting and sculpture there lies a mummy complex.
Influential Theorists: Andre Bazin – The Ontology Of The Photographic Image
So what chance does Bazin have of explaining it. Email required Address never made public. Links Peter Matthews puts up a strong defence of Bazin here. From tests we create an idea of reality to which the signified conforms or does not conform.
And worth coming back to later when I have time. 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.
Influential Theorists: Andre Bazin – The Ontology Of The Photographic Image – The Motley View
Maybe photography renewed this sense of magic experienced in ancient Egypt. 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 phototraphic the reality photograph. He compares this practice to the birth of the plastic arts. In that act she becomes the equal of God.
Painting was forced, as it thw out, to offer us illusion and this illusion was reckoned sufficient unto art.
But how do we know a mirage is a mirage? Photography and cinema are plastic realisms. Realism strips bare those preconceptions which, to Bazin, we accumulate through the passage of time like dust settling on furniture. Leave a Reply Cancel reply Your email address will not be published. The Ontology of the Photographic Image 1. In the Logic of Sense, Deleuze elaborates a fourth aspect of the proposition which the Stoics first thrand that others have rediscovered at different times and epochs.
Or indeed, whether this should be an issue. Reality is not given in the image but through a conception. Similarly, Bazin refers to surrealism photography as a means of awakening people from the false reality and false consciousness of photography.
They freed the plastic arts from their obsession with likeness. But what occurs the second time around is not the Lord who taketh away but the mother who giveth.
Sorry, your blog cannot share posts by email. He gets the difference between photographic images and other types of images. That residual belief in an inherent difference between, for instance, live action rhe and computer-generated characters might be a holdover from Bazinian ideas of the fundamentally objective ontology of the photographic image.