BAZIN ONTOLOGY OF THE PHOTOGRAPHIC IMAGE PDF

Historiography This is what Walter Benjamin argued about photography and film. Now interestingly enough, what is signified by a mirage, is actually water. Photography tricks us because its mechanical nature seems objective and reproduces the model. Jamie L. Brummitt, PhD Bazin may have argued, however, that the counter-position — that photography is not objective — incorrectly translates his proper position. In fact, this is what Bazin seems to argue when he suggests that they are hallucinations.

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He compares this practice to the birth of the plastic arts. He states that there is a basic psychological need in man to outwit time and preserving a bodily appearance is fulfilling this desire.

Because, however, pyramids and labyrinths could be pillaged, statuettes were developed as substitute mummies in case anything were to come of the real one. In the fifteenth century, Western painting turned from a concern with 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.

This left painting torn between two ambitions—the expression of spiritual reality and symbol and the desire for duplication of the world around us. Bazin continues to explain that the desire to see reality, though it is merely an illusion created via painting, is a mental need and realism in art is caught between the aesthetic and a deception aimed at fooling the eye.

This being said, photography and cinema have freed mankind from the obsession of illusion in painting because they themselves satisfy our obsession with realism. A photograph is of a specific moment in time and a specific place, while art can be of any moment in any place which is why Bazin argues that a painting is more eternal than a photograph.

Photography ranks high in the order of surrealist creativity because it produces an image that is a reality of nature, namely, an hallucination that is also a fact. Thus, as a final blow, Bazin makes the assertion that photography is the most important event in the history of the plastic arts and then leads us into his article on the development of the language of cinema and how we analyze it.

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BAZIN THE ONTOLOGY OF THE PHOTOGRAPHIC IMAGE PDF

He compares this practice to the birth of the plastic arts. He states that there is a basic psychological need in man to outwit time and preserving a bodily appearance is fulfilling this desire. Because, however, pyramids and labyrinths could be pillaged, statuettes were developed as substitute mummies in case anything were to come of the real one. In the fifteenth century, Western painting turned from a concern with 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. This left painting torn between two ambitions—the expression of spiritual reality and symbol and the desire for duplication of the world around us.

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The ontology of the photographic image

Taulrajas We accept the object before us in photography as credible, really existing, and actually re-presented. In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies. Clearly we have a new dialectic or a new phase in the dialectic. He gets the difference between photographic images and other types of images.

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