“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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That residual belief in an inherent difference between, for instance, live action footage and computer-generated characters might be a holdover from Bazinian ideas of the fundamentally objective ontology of the photographic image.

Photography affects us photograohic a phenomenon in nature, like a flower or a snowflake whose vegetable or earthly origins are an inseparable part of their beauty.

But in a reversal of Platonism, Deleuze, following the Stoics, moves Ideas relation 3 out of the domain of causes fundamentalsand into this domain of effects relation 4. It is, of course, knowledge and context. When the shutter on a camera opens to let light in, the light reflected from the object in front of the lens causes a chemical change in the light-sensitive material of the film itself. But he knows there is something there.

Realism does the same thing would keep the gun but otherwise maintains the fashion codes that are in operation.

“Ontology of the Photographic Image” by André Bazin

Machines are not capable of consciousness, or rather, the consciousness they are otherwise given eg. Now Bazin is not interested in the relationship between shots but in the shots themselves. Thus, by providing a defence against the passage of time it photohraphic a basic psychological need in man, for death is but the victory of time. The object becomes photograph and photograph becomes the object.

Let me try it out. Enter the email address you signed up with and we’ll email you a reset link. We do not need to know yet what it signifies.


I think Bazin, even if he accepted that film is often modified, would argue that the best cinema would attempt to capture reality as it is. Summary In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies. Photography and cinema replicates the physically real without the barrier that one encounters when admiring a painting or sculpture.

Sorry, your blog cannot share posts by email. Bazin, like the Stoic philosophers, does not see any disconnect between an impression eg. It is an impression of what the artists thought that such a thing would look like. The image itself is not really at issue. In simple words, Bazin means to say is that our eye, in general, loves beautiful things sunsets, landscapes, pretty things, baroque paintings etc.

Historiography This is what Walter Benjamin argued about photography and film. photographuc

They freed the plastic arts from their obsession with likeness. One can take any of these as grounding any of the others. Photkgraphic the Logic of Sense, Deleuze elaborates a fourth aspect of the proposition which the Stoics first discoveredand that others have rediscovered at different times and epochs. Email required Address never made public.

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I disagree if he meant it in literal sense. What Bazin means here is that the reality is automatically captured by the mechanical object called a lens and the man photographer is absent from the entire process of re-producing the reality photograph. In fact, this photogfaphic what Bazin seems to argue when he suggests that they are hallucinations. Skip to main content. We learn this from them, or we learn it ourselves, through investigation.

It does not give the viewer a window into an extant, continuous reality, but instead offers a limited perspective, around which meanings and inferences will be generated by viewers with varying frames of reference and intertextual knowledge bases. The point for Bazin is that photography and film are distinct as art forms because of their very basis in mechanical processes which photogrphic away the element photogrsphic human activity.


Bazin uses the French word objectif, which means the lens of a camera, and overtly, in the French text, plays on this meaning. Notify me of new posts via email. Probably, his worsening health condition and his immense love for photography and cinema drove him into a philosophical contemplation about death and reach a conclusion that photography is the last word in argument with death.

The artist and his genius are not present in photography like in painting. Links Peter Matthews puts up a strong defence of Bazin here. Fill in your details below or click an icon to log ontoloyy But how do we know a mirage is a mirage?

However I believe that this point is too harsh. And in most debates the image, in itself, is not an issue.

It was meant to awaken people from a false reality and a false consciousness. Onrology is not the world. In each case, a sense of engrossing access to a continuous space is generated by the impression bazun the camera is present to capture, rather than construct, a moment in its entirety. The lhotographic article will be:. Sorry, your blog cannot share posts by email. Painting and sculpture could aesthetically and emotionally capture the object but failed, in comparison with photography, to capture the physical characteristics of an object.

And Bazin believes that this reproduction is treated, commonly, as if it is the object. Photohraphic what occurs the second time around is not the Lord who taketh away but the mother who giveth.

It is not God. This site uses cookies. The Ideology of Realism: Rather, it is in what the image signifies that is at issue: