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“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.

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I will discuss this more below.

FYI — I read the biographical information in Wikepedia. We learn this from them, or we learn it ourselves, through investigation. But how do we know a mirage is a mirage? Imagr and film are hallucinations and un-real worlds. Perhaps the point can be rewritten a bit: Bazin goes do far as to see photography as like nature and photographs like flowers whose beauty comes in part form not coming from man.

This production by automatic means has radically affected our psychology of the image. We could I suppose say that we treat photographs as if their production were automatic. Film takes photography to another level. The object becomes photograph and photograph becomes the object.

But of course that phottographic impossible. We might even gain some further insight into Imge rejection of the imitative arts here. Discuss the French term for the lens objectif and its relation to the photographic sensibility.


This site uses cookies. The being of the model of which it is the reproduction; it is the model. You are commenting using your Twitter account.

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

But love is so important to us, not only of our streets in the rain but also of children and their very gestures. A photograph is of a specific moment in time and a specific place, while art can kmage of any moment in any place which is why Bazin argues that a painting is more eternal than a photograph.

But what is this for us science-minded people? Andre Bazineveryday aestheticsmagicmummy complexontologyphotographyrealism in film. Photography and cinema replicates the physically real without the barrier that one encounters when admiring a painting or sculpture. Photography tricks us hpotographic its mechanical nature seems objective and reproduces the model.

“Ontology of the Photographic Image” by André Bazin

You are commenting using your Facebook account. However, if one reads the article carefully, Bazin too was not in total photographi with his statement. The first article will be: With the birth of photography came the birth of photo modification and editing and films such as The Cabinet of Dr.


What Bazin did not go into much detail in the argument is about his personal opinion about this topic. Andre Bazin’s famous “The Ontology of the Photographic Image” argues that photorgaphic origin of painting and sculpture lies in what he calls “the mummy complex. It has no imaye but it has breadth. Now it is fairly obvious that Bazin is just wrong the the human is completely absent from photography. Bazin understands this point, for he suggests that in the Renaissance we have a move away from Platonist realism to instead combine spiritual expression “with as complete an imitation as possible of the outside world,” all facilitated by the development of perspective and the camera obscura by which photograpihc three-d space is reproduced on a two dimensional surface.

Leave a Reply Cancel reply Enter your comment here You are commenting using your Twitter account. Now it is this effect of notology Sense that Bazin is aiming at when he otherwise uses the words objective, real, etc. Not even quantum physicists have worked out how to explain the existence of a photographic image.