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

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Andre Bazin is undoubtedly a famous figure in film criticism and film theory. FYI — I read the biographical information in Wikepedia. Discuss the French term for the lens objectif and its relation to the photographic sensibility.

On this issue, Bazin has been superseded by decades of critical theory and criticism that have demolished notions of an objective reality that can be represented truthfully. Photography tricks us because its mechanical nature seems objective and reproduces the model. Links Peter Matthews puts up photographix strong defence of Bazin here.

I may be defeating my own purpose here. This site uses cookies.

“Ontology of the Photographic Image” by André Bazin

Bazin, I think, taps into something Deleuze identifies. The object becomes photograph and photograph becomes the object. Or indeed, whether this should be an issue. It forms this link by having a direct, indexical relationship between image and referent.

Photography photographi a realism that is not of this world.

Caligari show this trend with certain scenes being coloured differently. It was meant to awaken people from a false reality and a false consciousness. Summary In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies.

The gun in the bushes of Blow Up, represents the unconsciousness of an otherwise conscious fashion photograph. The mind of God.

You are commenting using your Twitter account. Why do I think so?


There is no functional relationship between Platos Forms and the Stoics Impressions. For the surrealists this something rather ontokogy nothing was an example of what they otherwise understood as the unconscious. He gets the difference between photographic images and other types of images. They construct objectivity and realism through mechanical reproduction.

Influential Theorists: Andre Bazin – The Ontology 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. We can recognise it as an image, but not yet what it signifies. In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies.

Bazin certainly leverages that formula and it is a common understanding or misunderstandingthat the photographic image is an image of that which is understood to have caused the image. What is at stake in both camps is not necessarily which is preferable: He is that great advocate of the photographic image.

Regardless of the photochemical relationship between the image and the represented object, the image is always selected.

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

While he does invoke some melodramatic flourishes of a destiny in the birth of photography, the various works with which he identifies are not about the construction of self enclosed totalities. The difficulty we might have with Bazin is treating the equivalence he sees between objects and images as photohraphic figure of speech, and the ontological frame of reference as not so. I think that the indexicality and meaning of the image are still important as far as spectatorship is concerned.

To find out more, including how to control cookies, see here: From tests we create an idea of reality to which the signified conforms or does not conform.

Fill in your details below or click an icon to log in: Now Bazin is not interested in the relationship between shots but in the shots themselves. When one indicates bazkn. According to Bazin, today no one recognizes the ontological link between the body and a representation: In this sense, a photograph is no more real than a painting or sculpture.


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

It is not the I that speaks. However I would agree with your statement: She gives her child to God. But how do we know a mirage is a mirage? Photography did not perfect the physical process color, etc. We learn this from them, or we learn it ourselves, through investigation.

But what occurs the second time around is not the Lord who taketh away but the mother who giveth. He states that there is a basic psychological need in man to outwit time and preserving a bodily appearance is fulfilling this desire.

Now it is this effect of impersonal Sense that Bazin is aiming at when he otherwise uses the words objective, real, etc. Photography and cinema replicates the physically real without the barrier that one encounters when admiring a painting or sculpture. This always precipitates the most common criticisms of Bazin, that he posits film as an objective medium of record, whose truth claims hinge upon a privileged link to reality.

They lose their aura originality, subjectivity, production history and trick the masses into believing that a constructed reality is reality. Help Center Find new research papers in: 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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