Andre Bazin took initiative to provide his view on perspectives of plastic and photograph in the world of arts. Bazin starts by mentioning how plastic arts attracted series of critics in the world of arts. Plastic art traces its origin centuries ago implying that this form of art perceived significant attention by artists that existed by then. Plastic arts were associated with a representational pictorial image popularly referred to as emblem. According to Bazin, plastic art can be falls under category of arts that defies realism. Plastic arts fail to create the needed impression of the ideal world. Therefore, it tends to diminish the impression of the natural world. Bazin develops the aspect of plastic art with regards to sociological and psychological perspective. This criticism stretches beyond in filming industry (Bazin and Andre 159-161).
Bazin gives credit to photography as more acceptable artistic tools that enhance naturalism with regards to technical and spiritual perspective. However, much as cinema and photography are viewed as advanced features in the world of arts, ...
Susan Sontag once wrote, “To collect photographs is to collect the world.” In her article entitled “On Photography,” she overviews the nature of photography and its relation to people using it. Sontag discusses photography’s ability to realistically capture the past rather than an interpretation of it, acting as mementos that become immortal. Continuing on to argue the authenticity of photography and how its view points have shifted from art into a social rite.With the use of rhetorical devices, Sontag scrutinizes the characteristics of photography and its effects on surrounding affairs; throughout this article Sontag reiterates the social rites, immortality and authenticity of photographs, and the act of photography becoming voyeuristic. With the use of the rhetorical devices pathos, appeal of emotion, ethos, appeal to ethics and credibility, and logos, appeal to logic, Sontag successfully persuades the audience to connect and agree with her views.
Fuss and Barthes, they share an interest in photography, they share an interest in the foundation and principles of photography, moreover they share an interest in photography that is deeply personal. Fuss takes the camera out of photography. Barthes takes photography out of art. Both men want to get to the essence of what a photograph is, one by thinking and writing about it, and one by doing it. In this paper I will show how Adam Fuss’ work matches up with and demonstrates the ideas of Barthes’ in Camera Lucida.
Since the late 1890’s films have been constantly changing the history of pop culture and the way people view war, politics, and the world as a whole. As the timeline of the history of film progressed, there were many different phases: gothic noir, slapstick comedy, tragedy vs. love, romance, and many more. Towards the more recent times, the central ideas of films started drifting to the greatness of the directors. Directors such as Stanley Kubrick, Martin Scorsese, Steven Spielberg, and many more were noted as outstanding directors of action and cinematography. In this paper I will speak about Wes Anderson, Martin Scorsese, and the ever so infamous Baz Luhrmann. These directors have changed the way filmmaking has been and will be looked at from this point on.
Gregory Crewdson once said “I love the experience of cinema- being enveloped in a complete world of another’s imagination. I love the quality of film- how it can capture so richly the color and light of a scene. And I love photography - for what it leaves unsaid for it is from this that we can start to spin our own imagination.” Crewdson accomplishes the both the most intriguing and frustrating aspect of art; he poses a question yet refuses to reveal the answer. It is the unanswerable question that leads the viewer to study the work and spend hours contemplating its meaning.
Ansel Adams thought that Stieglitz explanation about photography was the most valid statement of the roots of creativity. Adams was opposed to the pictorialist movement, this...
What, if any impact did photography play in the role of arts ‘evolution’, in particular, what impact did photography have in the works of the impressionist painters. Two obviously conflicting opinions arise through texts by ‘Aaron Scharf’ and ‘Kirk Vanerdoe’. Scharf argues that the impact of ‘snapshot photography’ and the invention and wide distribution of portable camera’s had a significant influence on the works of the painter ‘Degas’. Vanerdoe takes the opportunity to question what makes an influence significant, and tends to see the creation of Impressionism stem from earlier art movements. Then comes the question, what, if any arguments are valid, what arguments are opinions and what can be sieved down to fact.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Malevich’s description of the cutting-edge zaum style speaks to his view on the intimate connection between the spiritual and the non-objective. Specifically, he wrote in a personal correspondence from 1913 that zaum stylists in both literature and in painting rejected conventional reason for the simple yet persuasive fact that another kind of reason had been stirred within them that had its own peculiar law, construction and sense; Malevich chose to describe this new kind of reason as “beyond-reason-ness” and he argued that this “beyond-reason” gave pictures their right to exist. Malevich wanted to produce a new kind of art that would employ a logic using the full range of the human psyche – including its capacity for vitality, for novelty and for true creation. Ultimately, what Malevich was really after, c...
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology
“Recently, photography has become almost as widely practiced an amusement as sex and dancing, which means that, like every mass art form, photography is not practiced by most people as an art. It is mainly a social rite, a defense against anxiety, and a tool of power” (Sontag 8). After reading this quote in my head multiple times, I started to realize that people use it for different purposes. When I took a photography class in college, it was under the category “art.” Which made me think of it as a form of art, when there are so many other ways to view photography. Sontag changed my opinion about photography after further interpreting her quote because to have a camera in our hand, being able to capture the world through our lens is to have a tool of
Horkheimer and Adorno’s The Culture Industry: Enlightenment as Mass Deception and Benjamin’s The Work of Art in the Age of Mechanical Reproduction are two texts that to depict how technology, the modes of production, have allowed the mechanical reproduction of works of art to change our culture society. Horkheimer and Adorno evolve from the works of Benjamin to to create the idea of the business ideology being formed from this mass production and consumption. The mode of production that shaped the art and culture of the twentieth century is mechanical reproduction. Horkheimer, Adorno and Benjamin write about how this mode of production shapes the cultural identity of society.
Women desire to become beautiful and powerful, even if they don’t say it in words. And the Photographer plays with that concept and creates that desire, that you can become that person you see in the photograph. And live that lifestyle. Photographers use techniques from the cinema/cinematic, to create the desire of viewers/Buyer/Consumers. The cinematic techniques made it possible the way people lived and the...
Have you ever seen a painting or picture that captivates you and directly stirs up emotion within you? More than likely, you have. Usually, viewers merely observe the picture and enjoy the way it looks and how it makes them feel. But, have you ever asked yourself, “why?” What about the picture makes it pleasing to the viewer? With each strategy the photographer uses creates their own touch and passion that floods all over the picture. The emotional connection nearly goes unnoticed for when the picture is well photographed, the viewers experience the sensation in their subconscious. This is one of the most powerful tools that a photographer holds in their hands. If one can become a master of manipulating how the photo affects its viewers, the said photographer can potentially maneuver people’s minds and thoughts with one click of a button. The time spent with my mentor has opened up the door for me to tap into that power though the use of background, focus, shutter speed, angles, and most importantly, lighting. Even with all these techniques, the person behind the camera must remember that creativity must be at the forefront of all operations. Caleno (2014), when writing about the basics of capturing a beautiful moment in a picture commented, “If we want to be creative we must drop these pre-conceptions and start looking at things from a small child’s innocence.”
What do you consider art? Paintings, sculptures, drawings, or maybe something else. I know, when I think of art, I think of photography. Photography Is used for business, science, manufacturing, art, recreational purposes, mass communication, and more. Photography is using light to do amazing things, and some people think of photography as a story that just needs to be told. Ansel Adams probably believed this. He said, “You don’t take a photograph, you make it.” Photography has a long interesting history, like the fact that the word photography is made up of two greek words, photos meaning ‘light’ and graphein which is ‘to draw’ ! Photography also has some complicated techniques to get a hang of taking good photos. Have you heard of the rule of thirds? Or do you know how a camera works? Well, that will all be explained. Maybe, by the end you will take up photography too. This essay will explore the history and types of cameras and the basic rules for taking photographs.