Photography and Cinema

Love on the Left BankwasromanticnostalgiaforanearlierParis. Frank’sThe AmericanswasmarkedbyBeatcultureweariness.Klein’s New York ...

68William Klein’s filmWho Are You, Polly Magoo?(1966), frames. ...

hangoffthepagebytheirsprocketholes.Anysenseofsocialorphoto- graphicstabilityisjunkedforaroaming,churning,fracturedvision. Heexpl ...

Theimageslookatfirstlikeleftovers,thoseframesshotswiftlyand carelesslytocompletearolloffilm.Yet,farfrombeinganalienatedwork abou ...

ThePhoto-StoryContinued Intheimmediatepost-waryearsdocumentaryphotographyrefinedthe photo-storyformatthathadborrowedheavilyfromn ...

thatoffersphotographytheleastspaceforcreativitybecauseitseemsso atoddswithitsownstillness.AsBlakeStimsonhasargued,thephoto seque ...

73 An Italianfotoromanzoadaptation ofUn Posto al Sole(A Place in the Sun, dir. George Stevens, 1951), starring Montgomery Clift ...

EvenfromthefirstfewpagesitisclearthatKrull’smethodinvolved adoptingcinematicdevicessuchasthedissolveandthecross-cut. TheNewCriti ...

recreatestheepisodicfirst-personstructureofthefilmasword/image scrapbook.^44 Wherethefilmshowstheleadwomanconfrontedwith represe ...

In 1974 AlainResnaispublishedRepérages,abookofphotographs takenwhilelookingforfilmlocations.Theimagesofstreetsandarchitec- tural ...

77–80 Images from Réperagesby Alain Resnais (Paris, 1974). ...

Bywayofaconclusionletusconsiderthreerecentpublicationsthat exemplifythisindifferentways. PaoloGasparini’sMegalopolis( 2000 )isap ...

Burgin’sunfoldingofthethemesisfarfromlinear.Ideasandconnections cropupasifinadream-likereverieofmixedcities,mixedmediaand mixedm ...

York,EvianandGeneva.^46 Itswitchesbetweendocumentarystyles– surveillance,paparazzi,landscapesandportraits.Spinatschassemblesa ji ...

83–84 Spreads from Jules Spinatsch, Temporary Discomfort Chapter I–V: Davos, Genoa, New York, Evian, Geneva (Baden, 2005). ...

94 InFilm( 1965 ), Samuel Beckett’s only film, Buster Keaton plays a solitary man deeply troubled by signs of his own presence i ...

drop a close-up of an eyelid fills the frame. The lid lifts, the eye stares into the camera, the frame freezes and the words ‘fi ...

In his bookCamera Lucida, Roland Barthes attempts to locate an ‘essence’ of photography. He is led to the medium’s relation to t ...

are evil, but soon finds that he is unable to judge with certainty. The saint turns out to be a demon doing the devil’s work. It ...

indisputable and disputable proof. But, even when photographs appear to be undone and revealed as misleading or unreliable, they ...