March 7, 2017

Photography and Cinema (Reaktion Books - Exposures) by David Campany

By David Campany

What did the arriving of cinema do for images? How did the relocating photo switch our relation to the nonetheless photo? Why have cinema and images been so attracted to one another? Close-ups, freeze frames and the numerous portrayals of photographers on display are indicators of cinema’s enduring allure to the nonetheless snapshot. Photo-stories, sequences and staged tableaux converse of the deep impression of cinema on photography. Photography and Cinema a considers the significance of the nonetheless photograph for filmmakers reminiscent of the Lumi?re brothers, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Chris Marker, Mark Lewis, Agn?s Varda, Peter Weir, Christopher Nolan etc. In parallel it appears to be like on the cinematic within the paintings of photographers and artists that come with Germaine Krull, William Klein, John Baldessari, Jeff Wall, Victor Burgin and Cindy Sherman. From movie stills and flipbooks to slip indicates and electronic imaging, hybrid visible kinds have confirmed an ambiguous realm among movement and stillness. David Campany assembles a lacking background during which images and cinema were each one other’s muse and notion for over a century.

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Additional resources for Photography and Cinema (Reaktion Books - Exposures)

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But there are a number of image forms that allude to something between movement and stillness. Since around 1980 the British filmmaker Tim Macmillan has been developing a technique known 57 44–47 Freeze frame endings from Thelma and Louise (Ridley Scott, 1991); Butch Cassidy and the Sundance Kid (George Roy Hill, 1969); Gallipoli (Peter Weir, 1981); and Les Quatre cents coups [The 400 Blows] (François Truffaut, 1959). 48 Tim Macmillan, Dead Horse (video installation, 1998). as Time-Slice. Multiple cameras arranged around a moving subject are all triggered at once.

4 The same year László Moholy-Nagy arrived at the Bauhaus in Germany intent on using the page to synthesize various artistic ideas. Both were avid consumers of printed matter. Much of their education derived from their appetites for illustrated books, journals and periodicals. Moholy-Nagy’s first book Painting, Photography, Film (1925), emerged from that formative experience. Much of it is given over to presenting the images and visual concepts of the burgeoning visual culture around him: x-rays, animation cells, film stills, cameraless photograms, photomontages, sports photography, scientific pictures, press photos and anonymous snapshots.

The year Funny Face was released the cultural critic Roland Barthes contrasted the faces of Garbo and Hepburn. 34 Each was filmed in ways that confirmed this. The staring lens of 41 Menschen am Sontag [People on Sunday] (Robert Siodmak and Edward Ulmer, 1928), frames. Garbo’s lingering close-ups contrasts with the eventful poses and freezes of Hepburn. Ten years on from Funny Face, in the other well-known fashion film Blow-up (Michelangelo Antonioni, 1966), the face was neither idea nor event but had become a non-event.

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