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Introduction1 This wasLa Sortie des usines Lumière[Workers Leaving a Factory]
( 1895 ), screened in Paris on 28 December 1895. That year the
Lumière brothers also made a fictional comic film about a photo-
grapher growing impatient with a sitter who would not keep still
(Photographe, 1895 ).
2 Arrivée des congressistes à Neuville-sur-Saône( 1895 ). The film is also
known asCongrès des sociétés photographiques de Franceand is usual-
ly translated asThe Photographic Congress Arrives in Lyon. The man
taking the snapshot in the film is Jules Janssen, the astronomer and
pioneer chronophotographer.
3 Film und Fototoured Germany and was also staged in Japan (Tokyo
and Osaka) in 1931.
4 For summaries of theFilm und Fotoexhibition, see the catalogue
Internationale Austellung des Deutschen Werkbunds Film und Foto
(Stuttgart, 1929 ), and Beaumont Newhall, ‘Photo Eye of the 1920 s:
TheDeutsche WerkbundExhibition of 1929 ’, inGermany: The New
Photography,1927–33, ed. David Mellor (London, 1978 ), pp. 77 – 86.
Newhall describes the photography comprehensively, but covers
the film festival in a single paragraph. The catalogue itself was a
fairly conventional publication, but the event generated other
significant books: Franz Roh,Foto Auge / Oeil et photo / Photo-Eye,
designed by Jan Tchichold (Stuttgart, 1929 ); Werner Gräff,Es
kommt der neue Fotograf![Here Comes the New Photographer!]
(Berlin, 1929 ); and Hans Richter,Filmgegner von Heute: Filmfreunder
von Morgen[Enemy of Film Today, Friend of Film Tomorrow]
(Berlin, 1929 ).
5 For a detailed study of photographer-filmmakers, see Jan-Christopher
Horak,MakingImagesMove:PhotographersandAvant-GardeCinema
(Washington,dc, 1997 ).
6 Even Franz Roh’s introduction toPhoto-Eyestruggles to stake out
the relation between the two. See Franz Roh, ‘Mechanism and
Expression: The Essence and Value of Photography’, in hisFoto
Auge, pp. 14 – 18.
7 Christian Metz, ‘Photography and Fetish’,October, 34 (Fall 1985 );
reprinted inThe Cinematic, ed. David Campany (Cambridge,ma,
and London, 2007 ), pp. 124 – 33.
8 The young Michelangelo Antonioni wrote the script forThe White
Sheikhand planned to make ithisfirst film as director. He had shot
a short pseudo-documentary on the making of afotoromanzo,
L’amorosa menzogna(Lies of Love) in 1949 .Under some pressure,
however, Antonioni sold the script.
9 An e-mail exchange in 2005 between Mike Figgis and Jeff Wall, in
The Cinematic, ed. Campany, pp. 156 – 65.
10 Andy Warhol and Pat Hackett,Popism: The Warhol ’ 60 s(New York,1980 ), p. 110.
11 Andy Warhol, cited by Bill Jeffries in ‘Warholian Physiognomy:
TheScreen Testsof 1964 to 1966 ’, inFrom Stills to Motion and Back
Again:Texts on Andy Warhol’sScreen TestsandOuter and Inner
Space (Vancouver, 2003 ), p. 41.
12 Gilles Deleuze,Cinema 2 : The Time-Image(New York, 1989 ), p. 17.
13 See Constance Penley, ‘The Imaginary of the Photograph in Film
Theory’ [ 1984 ], inThe Cinematic, ed. Campany, pp. 114 – 18.
14 The phrase is Jeff Wall’s from his ‘“Marks of Indifference”: Aspects
of Photography in, or as, Conceptual Art’, inReconsidering the
Object of Art, 1 965–1975, ed. Ann Goldstein and Anne Rorimer
(Los Angeles, Cambridge,ma, and London, 1996 ), pp. 246 – 67.one:Stillness1 Christopher Isherwood, ‘Goodbye to Berlin’ [ 1939 ], inThe Berlin
Stories(New York, 1952 ).
2 Henri Cartier-Bresson, introductory essay inThe Decisive Moment
(New York, 1952 ), p. 2 ; reprinted inThe Cinematic, ed. David
Campany (Cambridge,ma, and London, 2007 ). The titleThe
Decisive Momentwas used with poetic licence for the American
co-edition instead of the FrenchImages à la sauvette, a phrase that
evokes chance as much as decisiveness.
3 He cites as his crucial films: ‘Mysteries of New Yorkwith Pearl
White; the great films of D. W. Griffith –Broken Blossoms; the first
films of Stroheim –Greed; Eisenstein’sPotemkinand Dreyer’s
Jeanne d’Arc– these were some of the films that impressed me
deeply.’
4 An illuminating discussion of this duality is Thierry de Duve,
‘Time Exposure and Snapshot: The Photograph as Paradox’,
October, 3 ( 1978 ); reprinted inThe Cinematic, ed. Campany,
pp.52–61.
5 I discuss this in greater depth in ‘Safety in Numbness: Some
Remarks on the Problems of “Late” Photography’, inWhere Is the
Photograph?, ed. David Green (Brighton, 2003 ), pp. 123 – 32. For a
more detailed assessment of cinema’s reconstitution of time, see
Mary Ann Doane,The Emergence of Cinematic Time: Modernity,
Contingency, the Archive(Cambridge,ma, 2002 ).
6 Peter Wollen discusses the present-tense narration of the news-
paper caption in ‘Fire and Ice’ [ 1984 ], inArt and Photography, ed.
David Campany (London, 2003 ), pp. 218 – 20.
7 Cartier-Bresson made his first film in 1937 , having been introduced
to filmmaking by Paul Strand in 1935. He continued to make docu-
mentary films until 1970. For a summary of his work in film, see
Serge Toubiana, ‘Filmmaking: Another Way of Seeing’, inHenri