Photography and Cinema

In 1939 Edward Weston made a small number of photographs on the back lot ofmgmstudios in Hollywood. He shot architectural fragme ...

even shot the same backdrop as Weston. His camera is further away and off to the side. We see the scaffolding behind the backdro ...

would make such a contraption today in the era of computer-generated imagery? And what would a behind-the-scenes photo of a cont ...

declared frame of reference is not the world but another film?) The remake was shot by the cinematographer Christopher Doyle, wh ...

ambivalent face expresses the dizzying layers of representation. Is she preoccupied with the past projected behind her or the fu ...

example, the documentarist Mary Ellen Mark was assigned a photo story on the making ofOne Flew Over the Cuckoo’s Nest(Milos Form ...

as distinct from each other as from the film. Eggleston ignored cast and crew to look at quiet architectural details. His only c ...

provided by the technicians. The detailed sets and costumes had been fabricated using old photographs as reference. These includ ...

culture, and much of it has made use of photography as a medium at once distinct yet connected to it. By the 1990 s it was clear ...

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recombined into broken narratives in a style that mixed Dada, Surreal- ism and Situationist graphics. Turning to film stills in ...

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Make it Big( 2002 ) by Shezad Dawood is a similar exploration of myth. Dawood traveled to Karachi to attempt a Pakistani remake ...

of Warner Brothers studios. He looked through files of continuity stills. These are documents made of sets between takes to reco ...

116–119 John Divola, images from Evidence of Aggressionfrom the project Continuity(1995). Clockwise from top left:Larceny Lane ( ...

colouredtapeonthefloor during rehearsals. Waters’s ‘point and shoot’ simplicity echoes the perfunctorypicturesmadebyPeckerinthef ...

that what was truly filmic about a film revealed itself only once the movie was deprived of movement. Only when it is stilled do ...

resembled discarded publicity stills from real films. On another, they adopted the preferred format of purist fine-art photograp ...

over in favour of their staged reconstruction. This staging could be avowedly faithful, or less so. Several things follow from t ...

camera’s frontal presence is standard in mainstream narrative cinema because it inherited the implied ‘fourth wall’ of realist t ...