BAZIN ONTOLOGY OF THE PHOTOGRAPHIC IMAGE PDF

“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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Log In Sign Up. The fact that a human hand intervened cast a shadow of doubt over the image. Because, however, pyramids and labyrinths could be pillaged, statuettes were developed as substitute mummies in case anything were to come of the real one. Now Bazin is not interested in the relationship between shots but in the shots themselves.

The process might reveal that at the origin of painting and sculpture there lies a mummy complex.

In each case, a sense of engrossing access photograaphic a continuous space is generated by the impression that the camera is present to capture, rather than construct, a moment in its entirety.

He is that great advocate of the photographic image. In this sense, a photograph is no more real than a painting or sculpture. But in the s, photographs of dead bodies were used like Egyptian statues as substitutes for dead bodies. Realism and surrealism are very closely related.

Leave a Reply Cancel reply Enter your comment here If I get a chance in the exam your article will come in handy. Rather, it is in what the image signifies that is at issue: Fill in your details below or click an icon to log in: Bazin, like the Stoic philosophers, does not see any disconnect between an impression eg.

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It is not the world. In the race of immortalizing puotographic, painting and sculpture could only create the illusion of cheating death but photographic re-production could take out a moment in a photograpuic time and space.

There is no functional relationship between Platos Forms and the Stoics Impressions. The object becomes photograph and photograph becomes the object.

Photography and film can make us believe things that may or may not be not real. This objectivity and reality are a product of impassive mechanical reproduction. You are commenting using your WordPress.

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

This objectivity and realism, however, imave only photgoraphic of the mechanical processes of photography. When the shutter on a camera opens to let light in, the light reflected from the object in front of the lens causes oof chemical change in the light-sensitive material of the film itself. Photography and cinema are plastic realisms.

Photography and cinema replicates the physically real without the barrier that one encounters when admiring a painting or sculpture. I have been pondering the same issues over the last year because my original work during my MA and PHD studies was about Documentary film and although flawed I still love Bazin. Sorry, your blog cannot share posts by email. What is at stake in both camps is not necessarily which is preferable: The first article will be: Realism strips bare those preconceptions which, to Bazin, we accumulate through the passage of time like dust settling on furniture.

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

Back to Bazin Part II: Photographif photograph ;hotographic of a specific moment in time and a specific place, while art can be of any moment in any place which is why Bazin argues that a painting is more eternal than a photograph. Both prefer imafe Real. To find out more, including how to control cookies, see here: For the surrealists this something rather than nothing was an example of what they otherwise understood as the unconscious.

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There is a tree. Similarly, Bazin refers to surrealism photography as a means of awakening people from the false reality and false consciousness of photography. In Deleuze, Photograpnic is is definitely on the side of Deleuzean Sense, but he is positioned as involved in more of an embryonic sense the seeds of sense.

Andre Bazin is undoubtedly a famous figure in film criticism and film theory. Only the impassive lens, stripping its object of all those ways of seeing it, those piled-up preconceptions, that spiritual dust and grime with which my eyes have covered it, is able to present it in all its virginal purity to my attention and consequently to my love.

However I would agree with your statement: They both create realities in their re-presentations. What Bazin did not ot into much detail in the argument is about his personal opinion about this topic.