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.

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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. Save my name, email, and website in this bszin for the next time I comment. You are commenting using your WordPress.

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

Why or why not? Photography and film can make us believe things that may or may not be not real. Photography creates a realism that is not of this world. Summary In ancient Egypt the plastic arts, like statuary, were substitutes for dead bodies. Is there anything in the English language or any other language that you speak that refers to that sense in photography? Maybe photography renewed this sense of magic experienced in ancient Egypt.

The artist and his genius are not present in photography like in painting. It was meant to awaken people from a false reality and a false consciousness.


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Benjamin, however, went further in his argument that photography and film are harmful. Santosh Kumar Korthiwada Instructor: 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. Photography and cinema replicates the physically real without the barrier that one encounters when admiring a painting or sculpture. However, if one reads the article carefully, Bazin too was not in total agreement with his statement.

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

They lose their aura originality, subjectivity, production history and trick the masses into believing that a constructed reality is reality. Photography, according to Bazin, evaporates the human touch: Therefore to Bazin photography and Cinema, in the realist style, is a gust of wind which blows away the photorgaphic that settles on our way of seeing. In ancient Egypt the plastic arts, like statuary, were substitutes photograhpic dead bodies.

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. No matter how skilful the painter, his work was always in fee to sndre inescapable subjectivity.


This is what Walter Benjamin argued about photography phottographic film. 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 the other hand is so successful in re-producing reality without much intervention of man.

They construct objectivity and realism through mechanical reproduction. This left painting torn between two ambitions—the expression of spiritual reality and symbol and the desire for duplication of the world around us. However I believe that this point is too harsh.

The object becomes photograph and photograph becomes the object. This being said, photography and cinema have freed mankind from the obsession of illusion in painting because they themselves satisfy our obsession with realism. This objectivity and reality are a product of impassive mechanical reproduction. To find out more, including how to control cookies, see here: Photography and cinema are plastic realisms.

“Ontology of the Photographic Image” by André Bazin

Caligari show this trend with certain scenes being coloured differently. University of California Press Ltd,pp. The first article will be: