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Andre Bazin's "Ontology of the Photo...

Rifkin, Stephen J.

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Andre Bazin's "Ontology of the Photographic Image": Representation, Desire, and Presence.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Andre Bazin's "Ontology of the Photographic Image": Representation, Desire, and Presence./
Author:	Rifkin, Stephen J.
Description:	348 p.
Notes:	Source: Dissertation Abstracts International, Volume: 72-10, Section: A, page: 3561.
Contained By:	Dissertation Abstracts International72-10A.
Subject:	Cinema. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR79634
ISBN:	9780494796344

Andre Bazin's "Ontology of the Photographic Image": Representation, Desire, and Presence.
Rifkin, Stephen J.

Andre Bazin's "Ontology of the Photographic Image": Representation, Desire, and Presence. - 348 p.

Source: Dissertation Abstracts International, Volume: 72-10, Section: A, page: 3561.

Thesis (Ph.D.)--Carleton University (Canada), 2011.

This dissertation offers a new interpretation of the influential 1945 essay "The Ontology of the Photographic Image" by French film critic Andre Bazin. A close textual analysis is performed in which it is shown that Bazin's essay assesses the comparative value of painting, photography, and cinema in relation to three discrete representational ideals: mimetic depiction ("the obsession with resemblance"), psychological gratification ("the need to defeat time"), and spiritual presence ("aesthetic revelation"). It is argued that Bazin views each ideal as articulating a distinct relationship between human desire and the concept of presence, within which the technology of photography and cinema play a unique role.

ISBN: 9780494796344Subjects--Topical Terms:

854529
Cinema.

Andre Bazin's "Ontology of the Photographic Image": Representation, Desire, and Presence.
LDR:03306nam a2200313 4500 001 1958381
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020 $a 9780494796344
035 $a (MiAaPQ)AAINR79634
035 $a AAINR79634
040 $a MiAaPQ $c MiAaPQ
100 1 $a Rifkin, Stephen J. $3 2093450
245 1 0 $a Andre Bazin's "Ontology of the Photographic Image": Representation, Desire, and Presence.
300 $a 348 p.
500 $a Source: Dissertation Abstracts International, Volume: 72-10, Section: A, page: 3561.
502 $a Thesis (Ph.D.)--Carleton University (Canada), 2011.
520 $a This dissertation offers a new interpretation of the influential 1945 essay "The Ontology of the Photographic Image" by French film critic Andre Bazin. A close textual analysis is performed in which it is shown that Bazin's essay assesses the comparative value of painting, photography, and cinema in relation to three discrete representational ideals: mimetic depiction ("the obsession with resemblance"), psychological gratification ("the need to defeat time"), and spiritual presence ("aesthetic revelation"). It is argued that Bazin views each ideal as articulating a distinct relationship between human desire and the concept of presence, within which the technology of photography and cinema play a unique role.
520 $a The publication history of "The Ontology of the Photographic Image" in French and English is summarized and a comparison is made of the two extant French versions. A historical overview of interpretations of the essay in English-language film theory is provided, with emphasis on its use in the development of the concept of cinematic realism. Close consideration is given to the essay's importance for the critique of ideology in film theory, and for the contemporary theory of photographic indexicality. It is argued that English-language interpretations of the essay have overlooked Bazin's strategy of using three separate criteria to conduct a comparative evaluation of painting, photography, and cinema.
520 $a Bazin's three criteria of mimetic representation, psychological gratification, and spiritual revelation are each considered in detail. Each is characterized as having its own social, cultural, and historical mythology. The "obsession with resemblance" is presented as invoking the epistemological ideals of Cartesian rationalism. It is shown that Bazin demonstrates the mechanical objectivity of photography and cinema to be superior to the inherent subjectivity of painting. The "need to defeat time" concerns photography and cinema's ability to arouse the beholder's fundamental desire for the presence of absent things. This is explicated by way of a reading of Sartre's L'Imaginaire and Barthes's Camera Lucida. In "aesthetic revelation," Bazin is shown to demonstrate that photography and cinema surpass the capacity of painting to reveal spiritual reality. This is explicated by way of a reading of Kandinsky's Concerning the Spiritual in Art.
590 $a School code: 0040.
650 4 $a Cinema. $3 854529
650 4 $a Art History. $3 635474
650 4 $a Philosophy. $3 516511
650 4 $a Art Criticism. $3 637082
690 $a 0900
690 $a 0377
690 $a 0422
690 $a 0365
710 2 $a Carleton University (Canada). $3 1018407
773 0 $t Dissertation Abstracts International $g 72-10A.
790 $a 0040
791 $a Ph.D.
792 $a 2011
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR79634