Between Still And Moving Images

"Addresses the relationship between cinema and photography during the 20th century. It comes out of a dialogue between historians from both fields, equally represented in the table of contents. It opens the field of study beyond the domains of art and cinephilia to take into account the social uses of images, of popular media, and of a diversity of discursive fields, from medicine to pedagogy. It aims to move beyond general aesthetic considerations to deal with specific historical objects, including discourses"--Back cover.

In Still Moving noted artists, filmmakers, art historians, and film scholars explore the boundary between cinema and photography. The interconnectedness of the two media has emerged as a critical concern for scholars in the field of cinema studies responding to new media technologies, and for those in the field of art history confronting the ubiquity of film, video, and the projected image in contemporary art practice. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, the contributors to this volume address issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another. Foregrounding the productive tension between stasis and motion, two terms inherent to cinema and to photography, the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant-garde film, photography, and installation art. Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries, and that the question of medium specificity is a necessarily interdisciplinary question. From a variety of perspectives, the contributors take up that challenge, offering new ways to think about what contemporary visual practice is and what it will become. Contributors: George Baker, Rebecca Baron, Karen Beckman, Raymond Bellour, Zoe Beloff,Timothy Corrigan, Nancy Davenport, Atom Egoyan, Rita Gonzalez, Tom Gunning, Louis Kaplan, Jean Ma, Janet Sarbanes, Juan A. Suárez

Offers a wealth of insight into the paradoxical nature of film, considering its role and impact on society in the 20th century as well as its future in the digital age. Original.

Essay from the year 2016 in the subject Art - Photography and Film, grade: 1:1, , language: English, abstract: Photography and film are closely intertwined; yet a significant void remains between the two mediums. This essay explores the relationship between still and moving images, and draws upon a number of pieces of evidence in order to illuminate the dialogue between the two. The essay argues that the relationship between still and moving images has changed considerably over the last 200 years, and that the narrative continues to evolve. The literature about the relationship between still and moving images does not give a direct answer to the question of the relationship between still and moving images. As words, "still" and "moving" seem to be different concepts that are a dichotomy, which means they are opposite. One of the main questions to ask is why these two concepts are polarised. This essay tackles one of the most difficult questions in contemporary art. Since it began, people working in photography have tried to understand how to capture movement. The essay uses post-structuralist theory to try to explain how maybe people are actually right when they feel that there is something wrong about stillness and movement having to be different things. The theory can help to show that often the things that we take for granted aren't right at all, and that actually we invent a lot of the things that we think are basic truths.

Danny Clinch has established himself as a premier photographer of the popular music scene, photographing a wide range of art­ists from Johnny Cash and Tupac Shakur to Björk and Dave Matthews. His photos have appeared on hundreds of album covers, as well as in publications such as Vanity Fair, Spin, Rolling Stone, and the New Yorker, and his ad campaigns for John Varvatos have adorned city streets and billboards. This lavish monograph chronicles Danny Clinch’s illustrious career with more than 200 photographs of the most important musicians of all time, along with his personal anecdotes and a written contribution by Bruce Springsteen. With images ranging from backstage shots at the Grammys to intimate candids, Still Moving is the ultimate gift for music lovers.

A fascinating exploration of the role new media technologies play in our experience of film.

As the building blocks of moving pictures, photographs have played an integral role in cinema since the dawn of the medium—a relationship that has grown more complexly connected even as the underlying technologies continue to evolve. Moving Frames explores the use of photographs in German films from Expressionism to the Berlin School, addressing the formal and narrative roles that photographs play as well as the cultural and historical contexts out of which these films emerged. Looking beyond and within the canon, the editors gather stimulating new insights into the politics of surveillance, resistance, representation, and collective memory functioning through photographic rupture and affect in German cinema.

Since that time, the projected image has become a prominent feature of contemporary art-making, and the incorporation of large-scale moving images by artists into installations now has a rich history. But due to the ephemeral nature of the original art works, many classic installations, while remembered, have not been widely seen.".