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.

Author: Doulkis Zolot
Country: Dominican Republic
Language: English (Spanish)
Genre: Health and Food
Published (Last): 11 April 2009
Pages: 260
PDF File Size: 19.34 Mb
ePub File Size: 16.44 Mb
ISBN: 599-6-91860-733-8
Downloads: 34690
Price: Free* [*Free Regsitration Required]
Uploader: Kektilar

Fill in your details below or click an icon to log in: Bazin may have argued, however, that the counter-position — that photography is not objective — incorrectly translates his proper position. Historiography This is what Walter Benjamin argued about photography and film.

In my answer to Question 2, I had mentioned that Bazin was a contemporary to Diane Arbus and though he was born 5 years before Diane, he died of leukemia at an young age of 40 years and seven months. To find out more, including how to control cookies, see here: With the birth of photography came the birth of photo modification and imagw and films such as The Cabinet of Dr.

Maybe photography renewed this sense of magic experienced in ancient Egypt. Photography, according to Bazin, evaporates the ths touch: What Bazin did not go into much detail in the argument is about his personal opinion about this topic.


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

University of California Press Ltd,pp. You are commenting using your Twitter account. The Ontology of the Photographic Image. You are commenting using your WordPress.

“Ontology of the Photographic Image” by André Bazin

Your email address will not be published. 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 being said, photography and cinema have freed mankind from the obsession of illusion in painting because they themselves satisfy our obsession with realism. In the race of immortalizing humanity, painting and sculpture could only create the illusion of cheating death but photographic re-production could take out a moment in a given time and space.

This site uses cookies. Help Center Find new research papers in: However I would agree with your statement: Benjamin refers to Dadaism as aandre attack on reason, logic, materialism, and nationalism through the arts. This objective production affected our psychology of the image.

Jamie L. Brummitt, PhD

Bazin also believes that, because of the technical and scientific method of photography, the aesthetic experience derived is bqzin more in-line with personal perception. He states that there is a basic psychological need in man to outwit time and preserving a bodily appearance is fulfilling this desire.


The first article will be:. Photography creates a realism that is not of this world.

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

Bzin did not perfect the physical process color, 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.

Another point of difficulty Bazin encounters is that of a causal link. They both create realities in their re-presentations. Realism strips bare those preconceptions which, to Bazin, we accumulate through the passage of time like dust settling on furniture.

It was natural, therefore, to keep up appearances in the face of the reality of death by preserving flesh and bone. To Bazin photography makes us see the world anew. Photography presents itself as objective and real.

However, if one reads the article carefully, Bazin too was not in total agreement with his statement. Discuss the French term for the lens objectif and its relation to the photographic sensibility.