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“Ontology of the Photographic Image” by André Bazin
- https://sites.lafayette.edu/fams202-sp15/2015/02/13/ontology-of-the-photographic-image-by-andre-bazin/
- 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 ...
The Ontology of the Photographic Image - JSTOR
- https://www.jstor.org/stable/1210183
- ANDRE BAZIN The Ontology of the Photographic Image TRANSLATED BY HUGH GRAY Before his untimely death in 1958 Andre Bazin began to review and select for publication his post-World War II writings on the cinema. Of the planned four volumes, one was published in 1958, and a second in 1959; the remainder await some competent selective hand.
The Ontology of the Photographic Image by Andre Bazin
- https://www.wildreflections.photography/uncategorised/the-ontology-of-the-photographic-image-by-andre-bazin
- It encourages an acceptance of existence of the object in time and space. Photography transfers reality from the object to its reproduced form. Bazin argues that the photographic image is the object itself and furthermore the object is freed from the conditions of time and space that govern it. So photography, freezes a moment in time, in life ...
André Bazin's Ontology of Photographic and Film …
- https://www.jstor.org/stable/3700510
- When Bazin announces in his title that his con-cern is with the ontology of the photographic image, we rightly take him to mean that he is concerned with the nature, or being, or distinc-tive identity of the photograph. Bazin's intellec-tual orientation with regard to ontology is not, however, that of a philosopher in the analytic
Bazin, Andre The Ontology of Photographic Image - Archive
- https://archive.org/details/Bazin_Andre_The_Ontology_of_Photographic_Image
- Addeddate 2017-05-02 23:00:32 Coverleaf 1 Identifier Bazin_Andre_The_Ontology_of_Photographic_Image Identifier-ark ark:/13960/t9x11g677 Ocr ABBYY FineReader 11.0
André Bazin's Ontology of Photographic and Film Imagery
- https://academic.oup.com/jaac/article/63/4/339/5957356
- Jonathan Friday; André Bazin's Ontology of Photographic and Film Imagery, The Journal of Aesthetics and Art Criticism, Volume 63, Issue 4, 19 October 2005, Page ... André Bazin, “Ontologie de L’Image Photographique,” in Qu’est ce Que le Cinéma? (Paris: Les Editions du Cerf, 1994), p. 9. Hereafter, the French text of OPI will be ...
Two Lessons on André Bazin’s “Ontology of the …
- https://intermittentmechanism.blog/2016/12/12/two-lessons-on-andre-bazins-ontology-of-the-photographic-image/
- Ian here— I have taught André Bazin’s essay “Ontology of the Photographic Image” in two very different contexts: once in the “Image” portion of the University of Chicago’s Media Aesthetics sequence in their Humanities Core, and once in a writing seminar at the School of the Art Institute of Chicago entitled “Moving Images and Arguments,” on cinematic rhetoric.
Andre Bazin's "Ontology of the Photographic Image"
- https://www.youtube.com/watch?v=VYJlq-MwWTY
- An overview of film theorist Andre Bazin's landmark essay "The Ontology of the Photographic Image."Part 2: https://youtu.be/3ACkObJhG6o
The Ontology of the Photographic Image - Semantic Scholar
- https://www.semanticscholar.org/paper/The-Ontology-of-the-Photographic-Image-Bazin-Gray/4ce61c7d368ae000249db85c441a3a707a8ee9c2
- The Ontology of the Photographic Image. Before his untimely death in 1958 Andre Bazin began to review and select for publication his post-World War II writings on the cinema. Of the planned four volumes, one was published in 1958, and a second in 1959; the remainder await some competent selective hand. The first volume centers on the theme of ...
Summary Of Andre Bazin's The Ontology Of The …
- https://www.bartleby.com/essay/Summary-Of-Andre-Bazins-The-Ontology-Of-FCCZF3U9ZWR
- In Andre Bazin’s essay, “The Ontology of The Photographic Image”, he argues that one of the defining characteristics and inherent motivations in the production of art and artifacts, be it the mummification of Pharaohs, portraits of Kings and Emperors, is the ‘preservation of life by a representation of life’ (Bazin 238).
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