“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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Benjamin refers to Dadaism as an attack on reason, logic, materialism, and nationalism through the arts.

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

Sorry, photographiv blog cannot share posts by email. 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.

Andre Bazin is undoubtedly a famous figure in film criticism and film theory. Discuss the French term for the lens objectif and its relation to the photographic sensibility.

South Yorkshire England View all posts by A. Do you agree or disagree? Why do I think so? You are commenting using your Facebook account.

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

Caligari show this trend with certain scenes being coloured differently. You are commenting using your WordPress. Painting tthe not anfre the subjectivity of the artists because true likeness could not be achieved through the human hand.


Because, however, pyramids and labyrinths could be pillaged, statuettes were developed as substitute mummies in case anything were to come of the real one. I disagree if he meant it in literal sense. Summary In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies.

To Bazin photography makes us see the world anew. Santosh Kumar Korthiwada Instructor: However I believe that this point is too harsh.

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 of leukemia at an aandre age of 40 years and seven months.

Jamie L. Brummitt, PhD

Reality is transferred from the thing to the reproduction. They are still magical because they still create worlds. 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.

He compares this practice to the birth of the plastic arts. In this sense, a photograph is no more real than a painting or sculpture.

This objectivity and reality are a product of impassive mechanical reproduction. But in the s, photographs of dead bodies were used like Egyptian statues as substitutes for dead bodies. Reblogged this on panyingfei.


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

The first article will be: Email required Address never made public. Photography and cinema replicates the physically real without the barrier that one phtoographic when admiring a painting or sculpture.

The photograph is no more real than a painting or sculpture but to Bazin it reproduces reality rather than creates an ersatz, or replacement, as does sculpture. Painting and sculpture could aesthetically and emotionally capture the object but failed, in comparison with photography, to capture the physical characteristics of an object.

Remember me on this computer. They lose their aura originality, subjectivity, production history and trick the masses into believing that a constructed reality is reality. Photography presents itself as objective and real. Help Center Find new research papers in: Photography and cinema are plastic realisms.

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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. To find out more, including bzain to control cookies, see here: