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ANDRE BAZIN THE ONTOLOGY OF THE PHOTOGRAPHIC IMAGE PDF

“The Ontology of the Photographic Image” examines how the plastic arts preserve humans and reality through representation. Photography. 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.

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Realism strips bare those preconceptions which, to Bazin, we accumulate through the passage of time like dust settling on furniture.

Photography and cinema are plastic realisms. Caligari show this trend with certain scenes being coloured differently. Benjamin, however, went further in his argument that photography and film are harmful. They construct objectivity and realism through mechanical reproduction.

Miage takes photography to another level. He compares this practice to the birth of the plastic arts. The artist and his genius are not present in photography like in painting.

However, it is my opinion that though, Bazin generalized mummy complex to humankind, he himself was somehow fascinated with the concept of human immortalization after death and the various ways people tried to achieve it via painting, sculpture etc. Photography and film can make us believe things that may or may not be not real.

Photography did not perfect the physical process color, etc. Help Center Find new research papers in: In the race of immortalizing humanity, painting and sculpture could only create the illusion of cheating death but photographic re-production could take out a moment in a given time and space.

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South Yorkshire England View all posts by A. I think Bazin, even if he accepted that film is often modified, would argue that the best cinema would attempt to capture reality pntology it is. Photography does provide more realism.

Influential Theorists: Andre Bazin – The Ontology Of The Photographic Image

They both create realities in their re-presentations. Photography and cinema replicates the physically real without the barrier that one encounters when admiring a painting or sculpture. I disagree if he meant it in literal sense. But in the s, photographs of dead bodies were used like Egyptian statues as substitutes for dead bodies.

Painting and sculpture could aesthetically and emotionally capture the object but failed, in comparison with photography, to capture the physical characteristics of an object. You are commenting using your WordPress. The opposite is true for Benjamin. The first article will be: This objectivity and realism, however, are only constructions of the mechanical processes of photography.

The process might reveal that at the origin of painting and sculpture there lies a mummy complex. The first article will be:.

Is there anything in the English language or any other language that photographicc speak that refers to that sense in photography? University of California Press Ltd,pp. 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. Bazin also believes that, because of the technical and scientific method of photography, the aesthetic experience derived is much more in-line with personal perception.

Click here to sign ahdre. However the mechanical process of photography was produced by the human hand and could be seen as an extension of the human touch — the human touch made mechanical.

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FYI — I read the biographical information in Wikepedia. Why or why not? In fact, this is what Bazin seems to argue when he suggests that they are hallucinations. From statues, palaces, portraits to tombs influential men have commissioned and ontologu art to represent themselves and the world they live in. Photography andfe us like a phenomenon in nature, like a flower or a snowflake whose vegetable or earthly origins are an inseparable part of their beauty.

Influential Theorists: Andre Bazin – The Ontology Of The Photographic Image – The Motley View

For Bazin, the tricks of photography and film have no moral affects. 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. Andre Bazin is undoubtedly a famous figure in film criticism and film theory. Another point of difficulty Bazin encounters is that of a causal link.

Maybe photography renewed this sense of magic experienced in ancient Egypt. Why do I think so? This objectivity and reality are a product of impassive mechanical reproduction.

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