When it comes to artwork, photographs or even stills, perception is an important part of the creative process. The Allegory of the Cave or, Plato’s Cave demonstrates individual knowledge of what is reality or what has been fabricated. Through photography especially, an artist may choose the impression they desire to give, what their artwork is to include, or what to omit. This demonstrates the control of the artist, and the power they have in projecting their own message. As discussed in class this week, also highlighted in the Sontag required reading, there are endless possibilities in altering a true or natural image. Anything can be retouched, cropped or doctored in both photography and film. This is the creative control and power previously mentioned being exercised. What may have started to serve as a recollection of an event or place can be manipulated to serve another purpose or give a different impression. The presentation of work is key in the intended message. In Plato’s Cave, the prisoners believed the shadows on the wall to be a version of reality. However if they had not been chained to only see the wall, and had seen the individuals creating the shadows, they would have interpreted what was being shown to them in a completely different manner. It is about perspective – what is in focus and what is not.

Sontag’s reading mentions, “Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are.” This concept is crucial in reinforcing the idea that although photography as an art form does reflect reality, capturing it in one frame, a pivotal role of the audience is a piece of works’ interpretation. Throughout this semester, I am intrigued to observe how film is a reflection of reality mixed with the unrestricted of interpretation, and the manner in which interpretation differs from individual to individual.

REFERENCE:

Sontag, S. (1979) On Photography. pp. 3-13, United Kingdom: Penguin, [1979].