ANDRE BAZIN ONTOLOGY OF THE PHOTOGRAPHIC IMAGE PDF

ANDRE BAZIN ONTOLOGY OF THE PHOTOGRAPHIC IMAGE PDF

Beginning his essay, André Bazin dives right into the practice of embalming, how ancient Egyptians used to mummify bodies and keep them. Influential Theorists: Andre Bazin – The Ontology Of The Photographic Image. andrebazincat. Andre Bazin is undoubtedly a famous figure in. “The Ontology of the Photographic Image” examines how the plastic arts preserve humans and reality through representation. Photography.

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FYI — I read the biographical information in Wikepedia. Photography, according to Bazin, evaporates the human touch: It was meant to awaken people from a false reality and a false consciousness. Caligari show this trend with certain scenes being coloured differently. 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.

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

They lose their aura originality, subjectivity, production history and trick the masses into believing that a constructed reality is reality. To preserve, artificially, his bodily appearance is to snatch it from the flow of time, to stow it away neatly, so to speak, in the hold of life.

Skip to main content. Painting and sculpture could aesthetically and emotionally capture the object but failed, in comparison with photography, to capture the physical characteristics of an object.

The arts no longer care about survival after death. Email required Address never made public.

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This site uses cookies. The Ontology of the Photographic Image. Only the impassive lens, stripping its object of all those ways of seeing it, those photoggaphic 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. Why or why not? No matter how skilful the painter, his work was always in fee to an inescapable subjectivity. It should be noted however that Bazin invests far too much faith in the technical process of developing film as an objective and not subjective process.

Photography ranks high in the order of surrealist creativity because it produces an image that is a reality of nature, namely, an photograpbic that is also a fact. This objective production affected our psychology of the image. I disagree if he meant it in literal sense.

André Bazin: The Ontology of the Photographic Image | Santosh Korthiwada –

Photography did not perfect the physical process color, etc. The cart refers back to the painter and his paint. A photograph is of a specific moment in time and a specific place, while art can be of any moment in any place ontolkgy is why Bazin argues that a painting is more eternal than a photograph. To find out more, including how to control cookies, see here: Bazin may have argued, however, that the counter-position — that photography is not objective — incorrectly translates his proper position.

Photography presents itself as objective and real.

Notify me of new comments via email. However I would agree anrde your statement: 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.

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And Bazin believes that this reproduction is treated, commonly, as if it is the object. University of California Press Ltd,pp.

“Ontology of the Photographic Image” by André Bazin

From statues, palaces, portraits to tombs influential men have commissioned and produced art to represent themselves and the world they live in. What Bazin did not go into much detail in the argument is about his personal opinion about this topic.

He thinks that what makes painting inferior is the excessive struggle of the artist, with so much hands-on involvement to make the painting as close as possible to reality and photography on the other hand is so successful in re-producing reality without much intervention of man. The process might reveal that at the origin of painting and sculpture there lies a mummy complex.

Just another Sites at Lafayette College site. This being said, photography and cinema have freed mankind from the obsession of illusion in painting because they themselves satisfy our obsession with realism.

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