Bazin subjectivity as a human hand intervened cast a shadow of doubt over the image is unavoidable.9/16/2023 It seems that in this writing, Bazin’s main points are that paintings are inevitably subjective, regardless of their realism, while photographs are inescapably objective, and that they have ‘ irrational power to bear away our faith’. Which we of course now understand to not be accurate. He also says that photography is ‘ …a mechanical reproduction in the making of which man plays no part‘. Photography and the cinema are discoveries that satisfy, once and for all and in its very essence, our obsession with realism.īazin states that regardless of the skill of the painter, there is always an inescapable subjectivity in their work, as a human hand intervened this casts a shadow of doubt over the image. Photography has freed the plastic arts from their obsession with likeness. ![]() Today’s cinema has been described as the furthermost evolution to date of plastic realism. This process has evolved over time, and in the fifteenth century, Western painters became to become more concerned with as complete an imitation of the outside world as possible. He then goes on to say how painting took over this role, with people being content with having their likeness preserved in a hand-made picture, rather than embalmement. This is my notes on Bazin’s document.īazin begins by talking of how people historically attempted to ‘preserve life’, utilising mummification and statuettes as in ancient Egypt. ![]() In the course notes for the exercise ‘The Myth of Objectivity’, a link is given to the full documents from which the quotes by Bazin and Sekula were taken.
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