“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.
|Published (Last):||3 November 2009|
|PDF File Size:||9.45 Mb|
|ePub File Size:||5.97 Mb|
|Price:||Free* [*Free Regsitration Required]|
You are commenting using your WordPress.
Back to Bazin Part 1: The Ontology of the Photographic Image
Photography frees the plastic arts “from their obsession with likeness” since photography satisfies “our obsession with realism. He is that great advocate of the photographic image. It was natural, therefore, to keep up appearances in the face of the reality of death by preserving flesh and bone.
If I get a chance in the exam your article will come in handy. Sorry, your blog cannot share posts by email.
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. What “no one believes” will be thrown into question. There is no functional relationship between Platos Forms and the Stoics Impressions.
The process might reveal that at the origin of painting and sculpture there lies a mummy complex. They lose their aura originality, subjectivity, production history and trick the masses into believing that a constructed reality is reality. But he knows there is something there. Is it formulas or things? But love is so important to us, not only of our streets in the rain but also of children and their very gestures. They both create realities in their re-presentations. The image itself is not really at issue.
You are commenting using your Twitter account. I am interested in anyone discussing these topics if there is a group out there doing so.
FYI — I read the biographical imagd in Wikepedia. And Bazin believes that this reproduction is treated, commonly, as if it is the object.
André Bazin, “The Ontology of the Photographic Image” () – Jamie L. Brummitt, PhD
We do not need to know yet what it signifies. The fact that a human hand intervened cast a shadow of doubt over the image. We could I suppose say that we treat photographs as if their production were automatic.
Fill in your details below or click an icon to log in: South Yorkshire England View all posts by A. The first article will be: Bazin applies this to cinema in an interesting way since cinema does have its own time: What is an image, on the other hand is the Imaginary. Notify me of new comments via email.
Photography tricks us because its mechanical nature seems objective and reproduces the model. This leads into the idea that photography can surpass art in creative power. In simple words, Bazin means to say is photogra;hic our eye, in general, loves beautiful things sunsets, landscapes, pretty things, baroque paintings etc.
The experience is the image.
Aesthetics Today: Is a photograph a mummy? Bazin on ontology..
The solution is not to be found in the result achieved but in the way of achieving it. Post was not sent – check your email addresses! Just another Sites at Lafayette College site. The film is no longer content to preserve the object, enshrouded as it were in an instant, as the bodies of insects are preserved intact, out of the distant past, in amber.
The point for Bazin is that photography and photogrpahic are distinct as art forms because of their very basis in mechanical processes which take away the element of human activity. Leave a Reply Cancel reply Enter your comment here We are forced to accept as real the existence of the object reproduced, actually represented, that is to say, in time and photoraphic. Another point of difficulty Bazin encounters is that of a causal link. The new conception of the aesthetic is tied now with giving expression of the world “both concretely and its essence.
The religion of ancient Egypt, aimed against death, saw survival as depending on the continued existence of the corporeal body. Notify me of new posts via email. You are commenting using your WordPress. Log In Sign Up. What Bazin means here is that the reality is automatically captured by the mechanical object imafe a lens and the man photographer is absent from the entire process of re-producing the reality photograph.
There is a tree. He concludes this paragraph with the idea that nature “imitates the artist” i. What is real is the Form the formula.
A photo is material, but not material-only, and mostly in its significance dependent on our grasping its non-material register.