Abstract: Bazin, as an active advocate of film realistic aesthetics after WWII, pointed out that the psychological background of film origin was The Myth of Total Cinema. His theoretical background of realistic aesthetics was his ontology of the photographic image based on the theory of The Myth of Total Chinema. And this endowed The Myth of Total Cinema with teleological mistake, and in the same time, exposed the limitation of the ontology of photographic image. His expression on the relation of representation and manifestation highlights the objectivity of cinema, function of representation or, from the angle of ontology, he overestimated the power of representation and underestimated function of manifestation. This is an obvious mistake in theoretical expression.

Key words: photographic image, ontology, teleology, realistic aesthetics