“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.

Author: Kazijas Goltijind
Country: Brazil
Language: English (Spanish)
Genre: Sex
Published (Last): 3 April 2005
Pages: 358
PDF File Size: 9.50 Mb
ePub File Size: 2.62 Mb
ISBN: 460-5-72150-619-1
Downloads: 20409
Price: Free* [*Free Regsitration Required]
Uploader: Mikasida

Photography presents itself as objective and real. This objectivity and realism, however, are only constructions of the mechanical processes of photography.

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

In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies. According to Bazin, today no one recognizes the ontological link between the body and a representation: The arts no longer care about survival after death. Photography and cinema are plastic realisms. They freed the plastic arts from their obsession with likeness. Painting could not escape the subjectivity of the artists because true likeness could not be achieved through the human hand.

Photography did not perfect the physical process color, etc. The artist and his genius are not present in photography like in painting. This objective production affected our psychology of the image. We accept the object before us in photography as credible, really existing, and actually re-presented. Reality is transferred from the thing to the reproduction. This objectivity and reality are a product of impassive mechanical reproduction.


Film takes photography to another level.

The ontology of the photographic image : Andre Bazin | Yiyun Kang: RESEARCH

Photography tricks us because its mechanical nature seems objective and reproduces the model. Photography creates a realism that is not of this world.

ohtology This is what Walter Benjamin argued about photography and film. They construct objectivity and realism through mechanical reproduction.

Photography and film are hallucinations and un-real worlds.

Benjamin refers to Ontoloty as an attack on reason, logic, materialism, and nationalism through the arts. It was meant to awaken people from a false reality and a false consciousness. Similarly, Bazin refers to surrealism photography as a means of awakening people from the false reality and false consciousness of photography. Benjamin, however, went further in his argument that photography and film are harmful.

They lose their aura originality, subjectivity, production history and trick the masses into believing that a constructed reality is reality. For Bazin, the tricks of photography and film notology no moral affects.


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

The opposite is true for Benjamin. They both create realities in their re-presentations. Photography does provide more realism. But in the s, photographs of dead bodies were used like Egyptian statues as substitutes for dead bodies.

For many people, the plastic arts do retain their magical role. In fact, this is what Bazin seems to argue when he suggests that they are hallucinations. Photography and film can make us believe things that may or may not be not real.

They are still magical because they still create worlds. Maybe photography renewed this sense of magic experienced in ancient Egypt. Your email address will not be published. ontilogy

Summary In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies. Historiography This is what Walter Benjamin argued about photography and film. Leave a Reply Cancel reply Your email address will not be published.