BAZIN THE 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. GLA Fall Take Home Mid-term Assignment Santosh Kumar Korthiwada Instructor: Lisa Levine The Ontology of the Photographic Image – by. “The Ontology of the Photographic Image” examines how the plastic arts preserve humans and reality through representation. Photography.

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The first article will be: 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.

She gives her child to God. Caligari show this trend with certain scenes being coloured differently. Reality is transferred from the thing to the reproduction.

According to Bazin, today no one recognizes the ontological link between the tue and a representation: Now it is this effect of impersonal Sense that Bazin is aiming at when he otherwise uses the words objective, real, etc. 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.

I have been pondering the same issues over the last year because my original work during my MA and PHD studies was about Documentary film and although flawed I still love Bazin.

Email required Address never made public. If I get a chance in the exam your article will come in handy. Bazin certainly leverages that formula and it is a common understanding or misunderstandingthat the photographic bqzin is an image of that which is understood to have caused the image.

Both prefer the Real. To bazi, 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. It is the Form which is real because eternal, universal, infinite, etc Now Bazin is not interested in the relationship between shots but in the shots themselves.

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

To find out more, including how to control cookies, see here: Another point of difficulty Bazin encounters is that of a causal link. In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies. Save my name, email, and website in this browser for the next time I comment. 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.

This site uses cookies. Log In Sign Up. In that act she becomes the equal of God. This is not in dominant usage but it has historical currency and it is the sense in which Bazin uses the word. This is what Walter Benjamin argued about photography and film.

The religion of ancient Egypt, aimed against death, saw survival as depending on the continued existence of the corporeal body.

For example, if we see a shimmering on the horizon then this shimmering is an image. It has no depth but it has vazin. Your email address will not be published. Ontoloty of the photochemical relationship between the image and the represented object, the image is always selected. The machine automaton became important in such. Or indeed, whether this should be an issue. They construct objectivity and realism through mechanical reproduction.

Fill in your details below or click an icon to log in: Photography tricks us because its mechanical nature seems objective and reproduces the model. Photography presents itself as objective and real.

Jamie L. Brummitt, PhD

Leave a Reply Cancel reply Your email address will not be published. This site uses cookies. Painting was forced, as it turned out, to offer us illusion and this illusion was reckoned sufficient unto art. The opposite is true for Benjamin.

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This always precipitates the most common criticisms of Bazin, that he posits film as an objective medium of record, whose truth claims hinge upon a privileged link to reality. They lose their aura originality, subjectivity, production history and trick the masses into believing that a constructed reality is reality. 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 tbe other hand is so successful in re-producing reality without much intervention of man.

In the fifteenth century, Western painting turned from a concern ;hotographic spiritual realities and aesthetics to one in which spiritual expression is combined with an imitation of the outside world that is as close as possible to reality. Click here to sign up. Let me try it out.

Deleuze notes there is a circularity in the above. The experience is the image. Post was not sent – check your email addresses! In Deleuze, Bazin is is definitely on the side photoographic Deleuzean Sense, but he is positioned as involved in more of an embryonic sense the onttology of sense. Maybe photography renewed this sense of magic experienced in ancient Egypt.

Email required Address never made public. When these theories are put into practice, as you suggest, they have to flex to take account of all the variations and modes to which filmmakers can apply the apparatus. Bazin, I think, taps into something Deleuze identifies. Photography, according to Bazin, evaporates the human touch: Ontoligy Bazin is not interested in the relationship between shots but in the shots themselves.