Photography and Cinema

WhereToStart Studiessuchasthisbookarepiecedtogetherfromfragments,andthe workofassemblyusuallybeginssomewhereinthemiddle.I‘began’ ...

beencompressedsothattheyareallthereforusatonce,asifinagallery. Wecannotactuallylookatthemallatonce,butwecanroamaroundthe picture ...

cinema.Werecognizesomethinguniqueinitsqualitieswhileknowing thatthosequalitiesarethemselvesamixofcodesderivednotjustfrom cinemaa ...

22 Photography preceded cinema, but does this imply that photography is the parent of cinema? Certainly many of the written hist ...

15 Eadweard Muybridge, ‘Transverse Gallop’,book platefromAnimals in motion. An electro-photographic investigation of consecutive ...

Stillness and movement are mutually exclusive, despite their genealogy and mutual interest. That said, sooner or later the compa ...

city. When Christopher Isherwood set out to describe daily life in Berlin before the Second World War, he wrote: I am a camera w ...

Eugène Atget’s sedate photographs of Paris, which prompted him to try a slow plate camera and tripod: ‘instead of a shutter a le ...

something to arrest. This is photography of the lens and shutter actively combined, colliding and colluding with the world in mo ...

depiction of something momentous. Suddenly we sense photography’s shortcomings as a historical record. We need know nothing more ...

29 the unfolding film can explain more of what is going on. The photograph may be summative, but it is in the end compelling onl ...

30 details, I have managed to arrange them in an order that is pleasing and to construct with intervals, correctly, a film-phras ...

31 words apply just as well to the montage of still images on the printed page or poster. Indeed, Rodchenko extolled much the sa ...

32 Expressionist theatre and cinema in Germany, using multiple lamps and mirrors to produce stylized and unnatural effects. In h ...

33 mainly of the city street with its ever-moving crowds. The kaleido- scopic sights mingle with unidentified shapes and fragmen ...

34 Whether critical or celebratory, representation of the city would have to emerge less from definitive images than the marshal ...

35 enough camera but could find no ciné film stock fast enough to shoot the city on the hoof without additional lighting. The on ...

36 action in front of the rolling camera. For Bazin, the synthetic nature of montage should be subordinate to the organic nature ...

37 Influential filmmakers such as Ingmar Bergman, Roberto Rossellini, Robert Bresson, Yasujiro Ozu, Michelangelo Antonioni, Pier ...

38 photograph of ocean waves pinned on the opposite wall. In the course of the zoom the image flickers through different colour ...