“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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André Bazin, “The Ontology of the Photographic Image” () – Jamie L. Brummitt, PhD
Do you agree or disagree? Distinguishing between lhotographic and the traditional plastic arts, sculpture and painting, by positing that photography is a reproduction and not an ersatz fails; photography — as we have both come to the position — is photoyraphic a replacement and a reproduction of reality.
Bazin continues to explain that the desire to see reality, though it is merely an illusion created via painting, is a mental need and realism in art is caught between the aesthetic and a deception aimed at fooling the eye. Log In Sign Up.
It was natural, therefore, to keep up appearances in the face of the reality of death by preserving flesh and bone. By continuing to use this website, tue agree to their use. The object becomes photograph and photograph becomes the object. Benjamin refers to Dadaism as an attack on reason, logic, materialism, and nationalism through the arts.
André Bazin: The Ontology of the Photographic Image | Santosh Korthiwada –
Therefore to Bazin photography and Cinema, in the realist style, is a gust of wind which blows away the dust that settles on our way of seeing. A photograph is of a specific moment in time and a specific place, while art can be of any moment in any place photograpuic is why Bazin argues that a painting is more eternal than a photograph. You are commenting using your WordPress. The opposite is true for Benjamin. You are commenting using your Twitter account. Because, however, pyramids and labyrinths could be pillaged, statuettes were developed as substitute mummies in case anything were to come of the real one.
Jamie L. Brummitt, PhD
Leave a Reply Cancel reply Enter your comment here Santosh Kumar Korthiwada Instructor: The first article will be: I bazn if he meant it in literal sense. This being said, photography and cinema have freed mankind from the obsession of illusion in painting because they themselves satisfy our obsession with realism. Enter the email address you signed up with and we’ll email you a reset link. In my answer to Question 2, I had mentioned that Bazin was a contemporary to Diane Arbus and though he was born 5 years before Diane, he died obtology leukemia at an young age of 40 years and seven months.
Painting could not escape the subjectivity of the artists because true likeness could not be achieved through the human hand. 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.
Bazin may have argued, however, that the counter-position — that photography is not objective — incorrectly translates his proper position.
Influential Theorists: Andre Bazin – The Ontology Of The Photographic Image
For many people, the plastic arts do retain their magical role. Photography creates a realism that is not of this world. 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, photograpgic able to present it in all its virginal purity to my attention and consequently to my love.
Probably, his worsening health condition and his immense love for photography and cinema drove him into a philosophical contemplation about death and reach a conclusion that photography is the last word in argument with death. The arts no longer care about survival after death. Your email address will not be published.
Photography and film are hallucinations and un-real worlds. Save my name, email, and website in imxge browser for the next time I comment. Photography tricks us because its mechanical nature seems objective and reproduces the model.
We accept the object before us in photography as credible, really existing, and actually re-presented. FYI — I read the biographical information in Wikepedia. In the fifteenth century, Western painting turned from a concern with spiritual realities and aesthetics to one in which spiritual photographoc is combined with an imitation of the outside world that is as close as possible to reality.