The ontology of the photographic image : Andre Bazin

The ontology of the photographic image ; Andre Bazin

Photo 2014. 2. 1. 오전 1 20 41

인간은 계속 대상을 preserve하는 것에 열광해왔다 미라도 마찬가지이다.
But all are agreed that the image helps us to remember the subject and to preserve him from a second spiritual death.
Seen in this sociological perspective photography and cinema would provide a natural explanation for the great spritual and technical crisis that overtook modern painting around the middle of the last century. p.6.

combine this spiritual expression with as complete an imitation as possible of the outside world. p.1.

photograph : the evolution of the pictorial. p.6
Perspective was the original sin of Western painting. p.7.

Photography has freed the plastic arts from their obsession with likeness. p.7.

No matter how skillful the painter, his work was alwasy in fee to an inescapable subjectivity. The fact that a human hand intervened cast a shadow of doubt over the image. p.7.

rather doe it lie in a psychological fact, to wit, in completely satisfying our appetite for illusion by a mechanical reproduction in the making of which man plays no part. The solution is not to be found in the result achieved but in the way of achieving it. p.7.

Originality in photogrpahy as distinct from originality in painting lies in the essentially objective character of photography. Only the instrumentallity of a nonliving agent. For the first time an image of the world is formed automatically, without the creative intervention of man. The personality of the photographer enters into the proceedings only in his selection of the object to be photographed and by way of the pirpose he has in mind.
All the arts are based on the presence of man, only photography derives an advantage from his absence. p.7.

This production by automatic means has radically affected our psychology of the image. The objective nature of photography confers on it a quality of credibility absent from all other picture-making.

We are forced to accept as real the existence of the object reproduced, actually represented, that is to say, in time and space. p.8.

The photographic image is the object itself, the object freed from the conditions of time and space that govern it.
The being of the model of which it is the reproduction; it is the model. p.8.

for photography does not create eternity, as art does, it embalms time, rescuing it simply from its proper corruption.
Viewed in this perspective, the cinema is objectivity in time. The film is no longer content to preserve the object, enshrouded as it were in an instant, as the bodies of insects are preserved intact, out of the distant past, in amber. p.8.

For the first time, the image of things is likewise the image of their duration. p.8.

The aesthetic qualities of photography are to be sought in its power to lay bare the realities. p.8.

Photography can even surpass art in creative power. p.8.

So photography is clearly the most important event in the history of the plastic arts. Simultaneously a liberation and an accomplishment, it has freed Western painting, once and for all, from its obsession with realism and allowed it to recover its aesthetic autonomy. p.9.


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