Maya Ellison
André Bazin, a French film critic and co-founder of the film magazine Cahiers du Cinema, explores the concept of 'plastic arts' in his work The Ontology of the Photographic Image. Bazin suggests that the fundamental motivation behind the creation of art and artefacts is the desire to preserve life through representation. He compares this to the ancient Egyptian practice of mummification, arguing that the plastic arts, including painting and sculpture, aim to immortalize the mortal by transforming and preserving bodily appearances beyond physical existence. Bazin further emphasizes the role of photography and cinema in satisfying our obsession with realism, freeing us from the illusionary nature of painting.
| Characteristics | Values |
|---|---|
| Definition | Plastic arts are defined as the "preservation of life by a representation of life" |
| Origin | The origin of plastic arts is rooted in the ancient Egyptian practice of mummification and the basic psychological need...to outwit time and preserving a bodily appearance is fulfilling this desire |
| Purpose | The purpose of plastic arts has transitioned from survival after death to "the creation of an ideal world in the likeness of the real, with its own temporal destiny" |
| Realism | Plastic arts strive for realism, or "mimesis", by seeking to achieve the greatest possible resemblance or likeness to reality |
| Photography | Bazin considers photography to be the "most important event in the history of plastic arts" because it creates a "hallucination that is also a fact" |
| Cinema | Cinema is a "mind-machine" that interrogates its audiences on egalitarianism and human spirituality or empathy |
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What You'll Learn
The 'mummy complex'
In "The Ontology of the Photographic Image", André Bazin explores the psychological motivations underlying the plastic arts, suggesting that they stem from a fundamental desire to preserve life and transcend mortality by creating representations. This idea, known as the "mummy complex", draws parallels between the ancient Egyptian practice of mummification and the artistic impulse to immortalise the mortal through painting, sculpture, and photography.
The "mummy complex" refers to the belief that the creation of art, particularly representations of the human form, serves as a defence against the inevitable passage of time and the fear of death. By preserving bodily appearances through art, individuals sought to fulfil a basic psychological need to outwit time and achieve a form of immortality. Bazin argues that this impulse is not limited to ancient cultures but persists in modern society as well, although the focus has shifted from mere survival after death to the creation of an ideal world with its own temporal destiny.
Bazin's concept of the "mummy complex" extends beyond the plastic arts to include photography and cinema. He suggests that photography, with its ability to capture and preserve a specific moment in time and space, represents the "furthermost evolution to date of plastic realism". Unlike painting, which relies on the artist's interpretation and can only approximate reality, photography provides an objective reproduction of the world, freeing mankind from the obsession of illusion.
Furthermore, Bazin's exploration of the "mummy complex" delves into the relationship between appearance and reality in art. He acknowledges that art, including photography, presents a powerful and ambiguous illusion that defies rational explanation. Despite being mechanical reproductions, photographs have the capacity to transcend their status as mere representations and acquire a sense of objectivity, influencing our perception of reality and the ontological understanding of the body.
Bazin's interpretation of the "mummy complex" offers a unique perspective on the psychological motivations behind artistic creation. By drawing parallels between ancient practices and modern artistic endeavours, he highlights the enduring human desire to preserve life, transcend mortality, and shape our understanding of the world through creative representations.
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Photography's role in plastic arts
In "The Ontology of the Photographic Image", André Bazin explores the psychological motivations underlying the plastic arts, which encompass painting, sculpture, and photography. Bazin suggests that the fundamental purpose of these arts is not just artistic expression but also a deep-seated desire to preserve life and transcend mortality by creating representations. This idea of "saving Being by means of Appearances" is linked to the ancient Egyptian practice of mummification, aiming to defeat death by preserving the corporeal body.
Photography, Bazin argues, is the culmination of this desire for preservation and representation. Unlike painting, which relies on the artist's interpretation and can only approximate reality, photography captures a specific moment in time and space, providing a direct reproduction of the object or scene. Bazin describes this process as "the object itself, the object freed from the conditions of time and space that govern it." This unique ability of photography to create an exact replica of reality, without artistic interference, is what Bazin considers the "most important event in the history of the plastic arts."
The mechanical nature of photography, where the image is created without the direct intervention of the artist, is key to Bazin's argument. He suggests that the photograph is a powerful illusion, defying the critical power of modern rationality. This automatic reproduction satisfies our appetite for realism and transcends the limitations of human creation. Bazin acknowledges that photography offers something different from traditional plastic arts like painting and sculpture, elevating it to a superior position in the creative hierarchy.
Furthermore, Bazin recognises that the introduction of photography and cinema has liberated artists from the constraints of illusion in painting. These new mediums provide an unprecedented level of realism, freeing artists from the challenge of duplicating the outside world. While a painting may strive for realism, it ultimately falls short due to its inherent subjectivity and inability to capture movement. Photography, on the other hand, captures a moment in time, creating a static yet realistic representation of reality.
In conclusion, Bazin's concept of the plastic arts revolves around the fundamental human desire to preserve and transcend mortality through representation. Photography, with its mechanical reproduction of reality, fulfils this desire in a way that traditional arts could not. By capturing and preserving specific moments in time, photography assumes a pivotal role in the evolution of the plastic arts, reshaping our understanding of realism and creativity.
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Plastic arts and the desire to preserve life
In "The Ontology of the Photographic Image", André Bazin explores the psychological motivations underpinning the plastic arts, suggesting that they stem from a fundamental desire to preserve life beyond its mortal limits through representational art. This idea of "saving Being by means of Appearances" is linked to what Bazin calls the “mummy complex”, derived from the ancient Egyptian practice of mummification, which aimed to defy death by preserving the corporeal body.
The plastic arts, including painting, sculpture, and photography, are seen by Bazin as a means to achieve immortality by capturing and preserving bodily appearances and physical reality. This is achieved through the creation of realistic representations that strive for the greatest possible resemblance to their subjects, fulfilling a basic psychological need to outwit time and transcend mortality.
Photography, in particular, is hailed by Bazin as a significant development in the history of the plastic arts. Unlike painting, which relies on the artist's interpretation and can only represent the emotionally real, photography captures reality as our eyes perceive it. It "embalms time" by freezing a specific moment, creating an image that is both an hallucination and a fact. This mechanical reproduction of reality satisfies our appetite for illusion and our obsession with realism.
Bazin's attraction to realism and his concept of art as a means of achieving eternity seem influenced by his own experiences with death. He argues that art allows us to remember the subject and prevent a "second spiritual death", where the individual is forgotten. However, he does not claim that all art is solely defined by this desire for immortality.
In conclusion, André Bazin's ideas on plastic arts reflect a profound exploration of the relationship between art, reality, and the desire to preserve life. By understanding the psychological motivations behind artistic creation, Bazin offers insights into the enduring appeal of representational art forms and their ability to transcend the limitations of mortality.
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Plastic arts as a form of immortality
In "The Ontology of the Photographic Image", André Bazin explores the psychological motivations underlying the plastic arts, viewing them as a means to achieve immortality and transcend mortal existence through representation and realism. Bazin's fascination with realism and the concept of art as a form of eternity is deeply intertwined with his personal experiences and constant confrontations with death.
At the core of Bazin's understanding of the plastic arts is the idea of preserving bodily appearances and physical reality through artistic representation. He compares this impulse to the ancient Egyptian practice of mummification, which aimed to preserve the corporeal body and defy death. Similarly, painting, sculpture, and photography serve as a means to transform and immortalize the mortal, fulfilling a fundamental psychological need to outwit time.
Bazin emphasizes the technical aspects of photography, highlighting how it captures and preserves a specific moment in time and space. He describes photography as "the object itself, the object freed from the conditions of time and space that govern it," suggesting that it transcends the limitations of physical existence. This unique ability of photography to embalm time and create an eternal image is what Bazin considers the "most important event in the history of the plastic arts."
However, Bazin acknowledges the limitations of painting and sculpture in achieving true realism due to their reliance on artistic interpretation and illusion. He suggests that photography and cinema have liberated humanity from the constraints of illusion in art by providing a more accurate representation of reality. Despite this, Bazin recognizes the enduring appeal of art forms like painting, which, despite their inability to fully duplicate the physical real, excel in capturing the emotional and spiritual dimensions of their subjects.
Bazin's interpretation of the plastic arts as a form of immortality extends beyond the individual to encompass the creation of an ideal world. He argues that art not only serves as a means of personal preservation but also contributes to the formation of a collective temporal destiny. This broader societal shift, according to Bazin, reflects a transition from a sole focus on survival after death to the construction of a desired reality.
In conclusion, André Bazin's concept of "plastic arts" revolves around the idea of using artistic representation to achieve a form of immortality. By comparing the plastic arts to ancient Egyptian mummification practices, Bazin highlights the universal desire to preserve bodily appearances and transcend mortal existence. Photography, with its ability to capture and preserve specific moments, stands out as a significant milestone in the history of the plastic arts, offering a unique form of realism that influences our understanding of cinema and the world around us.
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Plastic arts and realism
André Bazin's concept of plastic arts is rooted in his essay "The Ontology of the Photographic Image", where he explores the historical expectations and motivations of the plastic arts and their relationship with realism.
Plastic arts, according to Bazin, encompass painting, sculpture, and photography, which share a fundamental psychological impetus: the desire to preserve life and transcend mortality by creating representations. This idea of "the preservation of life by a representation of life" is likened to the ancient Egyptian practice of mummification, aiming to fulfil a basic psychological need to outwit time and preserve bodily appearance. Bazin calls this the "mummy complex", suggesting that the plastic arts, at their core, strive to make immortal the mortal.
Photography, in particular, is hailed by Bazin as a pivotal event in the history of plastic arts. Unlike painting, which often falls into the illusion of spiritual or emotional reality, photography offers an objective reproduction of reality, capturing a specific moment and place. Bazin describes the photographic image as "the object itself, freed from the conditions of time and space". This mechanical reproduction, devoid of artistic interference, provides an unprecedented level of realism, freezing and preserving time.
However, Bazin acknowledges photography's limitations in conveying movement, which leads him to explore the question of realism in cinema in his essay "The Myth of Total Cinema". He suggests that cinema, with its ability to depict movement, can surpass the static nature of photography and provide an even more comprehensive representation of reality. Bazin's attraction to realism in cinema is evident in his writings, where he emphasises the ethical interrogation of audiences and the importance of human spirituality and empathy.
Bazin's interpretation of plastic arts and realism extends beyond the visual arts. He recognises that the desire for realism is a mental need, and art often struggles between aesthetic expression and deception aimed at fooling the eye. This paradoxical function of art, as described by Bazin, is to "save Being by means of Appearances", highlighting the ambiguous nature of resemblance in fulfilling our attachment to the mortal world.
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Frequently asked questions
Bazin defines plastic arts as the fundamental desire to preserve life by creating representations of it. In other words, plastic arts are a means to achieve immortality and transcend the mortal finitude of human existence.
Bazin considers photography to be the most important event in the history of plastic arts. Unlike painting, photography captures a specific moment in time and place, offering a reality that is both an hallucination and a fact. Bazin believes that photography, with its mechanical nature, provides the ultimate evolution of plastic realism.
Bazin's attraction to realism and his concept of art as a production of the eternal seem linked to his preoccupation with death. Death was a constant presence in his life, and he viewed art as a means to outlast mortality and achieve a form of eternal preservation.
