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To Download the PDF File Andre Bazin's "Ontology of the Photographic Image": Representation, Desire, and Presence by Stephen J. Rifkin A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario ©2011 Stephen J. Rifkin Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your Tile Vote reference ISBN: 978-0-494-79634-4 Our file Notre reference ISBN: 978-0-494-79634-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1*1 Canada ABSTRACT 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. 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. 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. n ACKNOWLEDGEMENTS I must begin by recognizing the invaluable contributions and support of my two dissertation supervisors, Christopher Faulkner and Mark Salber Phillips. The seeds of the thesis were sown during a graduate seminar offered by Mark in early 2006, for which I wrote a paper addressing the role of historiography in Philip Rosen's interpretation of Bazin. In the close reading of Bazin's texts that I subsequently undertook, it was Chris who served as both a resource and a guide. It hardly needs to be stated, therefore, that many of the ideas presented here originated in the course of dialogue and discussions with Chris and Mark. I also wish to extend my heartfelt gratitude to the members of my thesis examination board. It was an honour and a privilege to have as my external examiner the pre­ eminent scholar on Bazin's work, Dudley Andrew. The fullness of his insight into Bazin's thought remains unparalleled. I am also appreciative of the contributions of Brian Foss and Marc Furstenau, both of whom provided a number of valuable and helpful suggestions. Thanks are also due to examination board chair Michel Gaulin. Much of the material in this thesis developed out of conversations with faculty in the Institute for Comparative Studies in Literature, Art and Culture and elsewhere at Carleton University. I have had many enjoyable talks with Marc Furstenau about the place of indexicality in the history of film theory. My work on Jacques Lacan was inspired by a series of stimulating and pleasant conversations with Barbara Leckie. Many of the ideas concerning the narratology of Freudian case histories were developed during a series of discussions with Barbara Gabriel. Certain ideas concerning the narratology of art history originated in a graduate seminar on visual and material culture led by Ruth Phillips and Frances Slaney, and later benefited from helpful suggestions by Mitchell Frank. The foundations of my knowledge of the work of Martin Heidegger I owe entirely to the insight and acuity of Robert Goheen. A number of the ideas that appear here were initially presented in partial form in conference and workshop papers. These ideas have therefore benefited immensely from comments and insight offered by various conference participants and interlocutors. I am particularly indebted to the arguments advanced by my fellow participants on the panel on documentary and the evidential at the 2008 conference of the Society for Cinema and Media Studies: Jaimie Baron, Kristen Fuhs, and Annabelle Honess-Roe. More recently, some of these ideas were reprised in a paper presented at a workshop on historical distance held in the Department of History at King's College, London, in the summer of 2009. I am grateful to the workshop's organizers, Barbara Caine, Mark Phillips, and Julia Thomas, and to the workshop participants for their feedback. An early version of my discussion of the decay of the photographic artifact was given in a paper at the 2009 conference of the Film Studies Association of Canada, as part in of a panel on theories of digital cinema that I had the privilege to co-convene with Jessica Aldred. For her collaboration on that panel, and for countless other things, Jessica has both my constant admiration and my thanks. My co-supervisors, Chris Faulkner and Mark Phillips, deserve further thanks for their patience during their fastidious reading of various chapter and manuscript drafts. Murray Leeder also was kind enough to read and provide helpful comments on an early draft of the thesis. Obviously, I alone bear responsibility for any errors that remain. Finally, it is my privilege to acknowledge that the completion of this thesis was enabled by a Canada Graduate Scholarship for doctoral study awarded by the Social Sciences and Humanities Research Council of Canada. IV TABLE OF CONTENTS Abstract ii Acknowledgements iii Table of Contents v List of Appendices vi PREFACE 1 INTRODUCTION: REPRESENTATION, DESIRE, AND PRESENCE IN "THE ONTOLOGY OF THE PHOTOGRAPHIC IMAGE" 6 1. A HISTORY OF ENGLISH-LANGUAGE RECEPTION 26 2. IDEOLOGY AND THE INDEX 60 3. THE OBSESSION WITH RESEMBLANCE 119 4. THE NEED TO DEFEAT TIME 179 5. AESTHETIC REVELATION 243 CONCLUSION 280 Appendices 287 Works Cited 308 v LIST OF APPENDICES Appendix A: "Ontologie de I'image photographique" - Variorum 287 Appendix B: Hugh Gray's Translation - Publication History 307 VI PREFACE This dissertation began with an obsession with indexicality. For a long time I have been fascinated by the way that this concept has made itself at home in film theory. Why is cinema's indexicality so compelling an idea for us? No single explanation, no attempt at definition, however carefully considered, seems adequate. We are told, after all, that indexicality is essentially a semiotic category. But in practice it serves more as a kind of conceptual repository for everything that we find magical about cinema's relationship with the real. I decided to explore how it might be possible for multiple, seemingly competing ideals to find themselves lodged side by side within the word "indexicality." Inspired in part by the multiplicity of representational ideals at work in Mark Salber Phillips's theory of historical distance, I set out to make a genealogy of the concept of indexicality in film theory, tracing the accumulation of its different definitions and values over time. Within such a history, the work of Andre Bazin—and "The Ontology of the Photographic Image" especially-—would seem to be a natural starting point, even if "indexicality" was an unknown concept to Bazin.
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