The ontology of the hybrid image: Updating the ontological basis of André Bazin’s film theory
DOI:
https://doi.org/10.24310/Fotocinema.2018.v0i16.4095Keywords:
André Bazin, Film Theory, Ontology of the image, Hybrid Cinema, CGI, RealismAbstract
We are witnessing a rapid evolution of digital technology, to the extent that nowadays it is almost impossible for the average spectator to discern between live action and Computer-Generated Imagery. Such a development of its components brings about a theoretical problem: the so-called “death of cinema”. André Bazin’s theory has been constantly revisited because of his hypotheses on the ontology of the photographic image and its cinematographic implications. This paper aims to actualize Bazin’s thought, through the link between film and its materials as well as his arguments regarding cinema as an essentially realist medium. To do so, we’ll do a comparison between the three primary materials used to create pictures: optical images, both analogical and digital, and CGI. My final goal is to explore to what extent hybridization has transformed cinema from a Bazinian point of view.
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