[Film critic and theorist, b. 1918, Angers, France, d. 1958, Nogent-sur-Marne, Île-de-France, France.]
Photography can strip from the world that spiritual dust and grime with which our eyes have covered it.
Photography does not create eternity, as art does; it embalms time, rescuing it simply from its proper corruption.
Every image is to be seen as an object and every object as an image.
A very faithful drawing may actually tell us more about the model but despite the promptings of our critical intelligence it will never have the irrational power of the photograph to bear away our faith.
Photography has freed the plastic arts from their obsession with likeness.
All the arts are based on the presence of man, only photography derives an advantage from his absence.
[The photograph] is the object itself… [It] shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.
The photographer proceeds, via the intermediary of the lens, to a point where he literally takes a luminous imprint, a cast... [But] the cinema realizes the paradox of moulding itself on the time of the object and of taking the imprint of its duration as well.