bazin subjectivity as a human hand intervened cast a shadow of doubt over the image is unavoidable.

In 1945 Bazin wrote an essay entitled ‘The Ontology of the Photographic Image’. PHOTOGRAPHY CAN EVEN SURPASS ART IN CREATIVE POWER.Īndré Bazin was the greatest film critic of his generation.

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.

SO PHOTOGRAPHY IS CLEARLY THE MOST IMPORTANT EVENT IN THE HISTORY OF THE PLASTIC ARTS. THE PHOTOGRAPH MECHANICALLY REPEATS WHAT COULD NEVER BE REPEATED EXISTENTIALLY.įOR THE FIRST TIME, THE IMAGE OF THINGS IS LIKEWISE THE IMAGE OF THEIR DURATION.ĭESPITE THE ILLUSION OF GIVING UNDERSTANDING, WHAT SEEING THROUGH PHOTOGRAPHS REALLY INVITES IS AN ACQUISITIVE RELATION TO THE WORLD THAT NOURISHES AESTHETIC AWARENESS AND PROMOTES EMOTIONAL DETACHMENT. THE PAINTER CONSTRUCTS, THE PHOTOGRAPHER DISCLOSES.Ī PAINTING IS COMMISSIONED OR BOUGHT A PHOTOGRAPH IS FOUND. PHOTOGRAPHS SHOCK INSOFAR AS THEY SHOW SOMETHING NOVEL. POPULAR TASTE EXPECTS AN EASY, AN INVISIBLE TECHNOLOGY. A CAMERA IS SOLD AS A PREDATORY WEAPON-ONE THAT'S AS AUTOMATED AS POSSIBLE, READY TO SPRING. THE PHOTOGRAPH IS VIOLENT: NOT BECAUSE IT SHOWS VIOLENT THINGS, BUT BECAUSE ON EACH OCCASION IT FILLS THE SIGHT BY FORCE, AND BECAUSE IN IT NOTHING CAN BE REFUSED OR TRANSFORMED (THAT WE CAN SOMETIMES CALL IT MILD DOES NOT CONTRADICT ITS VIOLENCE: MANY SAY THAT SUGAR IS MILD, BUT TO ME SUGAR IS VIOLENT, AND I CALL IT SO).

Bazin subjectivity as a human hand intervened cast a shadow of doubt over the image is unavoidable.