A filmmaker changes a lot in their films, and cuts from one scene to the next will connect the images, offering some new meaning. Although this comment is about painting a subject, and fits that art style well, it still forces me to question Bazin’s meaning of intervention. This conflicts with Bazin’s statement that cinema enables the artists in the same way that photography does. However, something that does not quite add up in this essay is the comment on painting, “The fact that a human hand intervened cast a shadow of doubt over the image” (12). This enabled the artists to stop focusing on how real their art was, and let them think more about what they were showing instead. “Photography has freed the plastic arts from their obsession with likeness” (12), because with a photo, an artist can capture exactly what something is, without bringing their impression of it into the frame. This was the way of art until photography came along and broke everything apart. As Bazin states, even the most realistic paintings in the world are still made by the painter’s hand, and so carry a certain alteration, separating it from the reality it was inspired by. His writing begins by explaining our human obsession with recording life realistically throughout history, and comes to an end with the invention of the photographic arts. In Andre Bazin’s essay “The Ontology of the Photographic Image”, he connects the ancient beliefs of preserving life after death to the more current abilities of recording life exactly as it is. ![]() “Although the final result may reflect something of his personality, this does not play the same role as is played by that of the painter” (13).
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