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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And worth coming back to later when I have time. Bazin uses the French word objectif, which means the lens of a camera, and overtly, in the Imwge text, plays on this meaning. The relationship is one of equivalence. Photography and film can make us believe things that may or may not be not real.

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

The point for Bazin is that photography and film are ontklogy as art forms because of their very basis in mechanical processes which take away the element of human activity. Email required Address never made public. For the surrealists this something rather than nothing was an example of what they otherwise understood as the unconscious.

But in the s, photographs of dead bodies were used like Egyptian statues as substitutes for dead bodies. This left painting torn between two ambitions—the expression of spiritual reality and symbol and the desire for duplication of the photlgraphic around us. Just another Sites at Lafayette College site. So Deleuze following the Stoics adds a fourth relation or expression: Because, however, photographid and labyrinths could be pillaged, statuettes were developed as substitute mummies in case anything were to come of the real one.

Photography does provide more realism.

A photograph is 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. Thus, by providing a defense against the passage of time it satisfied a basic psychological need in man, for death is but the victory of time. 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.

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Bazin may have argued, however, that the counter-position — that photography is not objective — incorrectly translates his proper position.

He gets the difference between photographic images and other types of images. Maybe photography renewed this sense of magic experienced in ancient Egypt.

The cart refers back to the painter and his paint. It was meant to awaken people from a false reality and a false consciousness. In simple words, Bazin means to say is that our eye, in general, loves beautiful things sunsets, landscapes, pretty things, baroque paintings etc. Links Peter Matthews puts up a strong defence of Bazin here. I think Bazin, even if he accepted that film is often modified, would argue that the best cinema would attempt to capture reality as it is.

What Bazin is tapping into is what an incredibly weird thing photography is, or does. No matter how skilful the painter, his work was always in fee to an inescapable subjectivity. Not even quantum physicists have worked out how to explain the existence of a photographic image. Reality is transferred from the thing to the reproduction. FYI — I read the biographical information in Wikepedia. He is that great advocate of the photographic image.

I am therefore I think Or more perversely: Post was not sent – check your email addresses! For many people, the plastic arts do retain their magical role. By continuing to use this website, you agree to their use. Bazin argues that painting shows a human touch unseen in photography. Regardless of the photochemical relationship between the image and the represented object, the image is always selected.

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For example, Descartes formula is:. In that act she becomes the equal of God. She gives her child to God. Realism does the same thing would keep the gun but otherwise iimage the fashion codes that are in operation. And in most debates phhotographic image, in itself, is not an issue.

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We believe in what seem to be photographic images — even when we know that images can be tampered with, altered, or completely created without the idexical chemical process. 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.

Deleuze notes ongology is a circularity in the above. Post was not sent – check your email addresses! We can recognise it as an image, but not yet what it signifies.

The artist and his genius are not present in photography like in painting.

Enter the email address you signed up with and we’ll email you a reset link. The solution is not to be found in the result achieved but in the way of achieving it. The arts no longer care about survival after death.

He thinks that what makes painting inferior photograpyic 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.

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.

They lose their aura originality, subjectivity, production history and trick the masses into believing that a constructed reality is reality. For example, if we see a shimmering on the imagee then this shimmering is an image.

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