Video : Chicago media theory
In his book Camera Lucida, Roland Barthes argues a photographs can be the object of three practices: to do, to udergo, to look. He considers the photographer to be the operator, hose of us who look at the photographs to be the spectators, and the person or object photographed, the target.
We could describe the medium of paintin to produce pictures and images as well. However, painting is obviously a different medium than photography and uses highly different physical substance. Photography share with film this exclusive and peculiar property- the sense of nearness in the thing.
Walter Benjaminpoints that there are two different values to a work of art. cult value / exhibition value 이건 내가 이미 쓴 부분임.
Photography as an art is by no means a precise representation of reality. the relation between photography and death. Kittler in his book, Gramophone, Film, Typewriter argues that photographs and photography albums, establish a realm of the dead. They guarantee the object photographed will be preserved. They induce in the spectator a feeling that the target of the photograph is real, and this reality we equate with being alive. Yet Barthes argues we take this a step further, because of that delusion which makes us attribute to reality an absolutely superior, somehow external value; but by shifting this reality to the past, the photograph suggest that it is already dead.
The photography was what allowed for the creation of film. It made possible the establishment of a whole new medium. cinema. In film just as in photography, we are given this illusion of reality. illusion and fantasy.
Camera has the ability to objectify people. The camera can turn people into things, and the photograph extends and multiplies the human image to the proportions of mass-produced merchandise.
IN the late 1800’s photogrpahy was mainly classified as an industrial art rather than a fine art, due to its mechanical nature.
1889 a fine-art photography movement was founded by Henry Emerson.
1930s Benjamin suggested that the question should not be whether or not photography had not transformed the entire nature of art. Benjamin sees photography to be the great new revolutionary medium that due to its reproducibility changed how we value art.
The medium of photography is known most for its reproducibility, its ability to communicate with the masses, its notion of reality that is induced in the spectators, and its ability to abolish time and space and allow for anyone to feel they have witnessed an historical act, been to a far away place, or communicated with the realm of the dead.
made available to the public a wealth of pictorial records exceeding everything known before.