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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 development of the language of cinema …
The Ontology of the Photographic Image - JSTOR
- https://www.jstor.org/stable/1210183
- 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.
(PDF) The Ontology of the Photographic Image | 煜琨 许
- https://www.academia.edu/39187285/The_Ontology_of_the_Photographic_Image
- The Ontology of the Photographic Image ... The with which my eyes have covered it, are able to photographic image is the object itself, the present it in all its virginal purity to my atten- object freed from the conditions of time and tion and consequently to my …
(PDF) The Ontology of the Photographic Image | Celia …
- https://www.academia.edu/75548072/The_Ontology_of_the_Photographic_Image
- The Ontology of the Photographic Image
''The ontology of the photographic image'' – Andre Bazin (1945)
- https://pzwiki.wdka.nl/mediadesign/%27%27The_ontology_of_the_photographic_image%27%27_%E2%80%93_Andre_Bazin_(1945)
- The ontology of the photographic image – Andre Bazin (1945) In the Ontology of the Photographic Image, Bazin argues that photography is the most important event in the history of the plastic arts because it has freed Western painting from its obsession with realism and allowed it to recover its aesthetic autonomy. (Bazin, 1945).
The Ontology of the Photographic Image by Andre Bazin
- https://www.wildreflections.photography/uncategorised/the-ontology-of-the-photographic-image-by-andre-bazin
- 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, freed from destiny – it embalms time. “The aesthetic qualities of photography are to be sought in its power to lay bare the realities.
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 A. Bazin, H. Gray Published 1 July 1960 Art Film Quarterly Before his untimely death in 1958 Andre Bazin began to review and select for publication his post-World War II writings on the cinema.
The Ontology of Photography: From Analogue To Digital
- https://philosophynow.org/issues/95/The_Ontology_of_Photography_From_Analogue_To_Digital
- In 1945 Bazin wrote an essay entitled ‘The Ontology of the Photographic Image’ (English translation available in What is Cinema?, Vol 1, 1967). ‘Ontology’ is that branch of philosophy concerned with the study of being, and of the different kinds of being that entities might have, so to discuss the ontological status of photography is to consider what particular kind of thing a …
Ontology - Wikipedia
- https://en.wikipedia.org/wiki/Ontology
- Ontology is the branch of philosophy that studies concepts such as existence, being, becoming, and reality.It includes the questions of how entities are grouped into basic categories and which of these entities exist on the most fundamental level. Ontology is sometimes referred to as the science of being and belongs to the major branch of philosophy known as metaphysics.
Summary Of Andre Bazin's The Ontology Of The …
- https://www.bartleby.com/essay/Summary-Of-Andre-Bazins-The-Ontology-Of-FCCZF3U9ZWR
- 1022 Words5 Pages. 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). He elaborates that at the heart of …
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