man’takingshotsonsetisalowlyfunctionaryscuttlingthroughthelegs
ofothers.Butinathirdimageacrowdofgiantstillscamerasdwarfsa
hopefulstarlet.Evenearlier,inThe Cameraman(EdwardSedgwick, 1928 ),
BusterKeatonplaysanewsphotographerlosingoutinloveandworkto
themovienewsreelcameramenwhowerealreadybeginningtosoakup
photographers’opportunities.Thepeckingorderisclear.
Itisaviewthatmanyphotographerswouldaccept.Beyondany
aestheticpreferenceforstillnessovermovementwhatappealstothem
isphotography’srelativelysimpleworkingprocedure.Inanexchange
betweenthephotographicartistJeffWallandthefilmmakerMikeFiggis,
Wallremarked:‘Itendtothinkoffilmmakersasgiganticpeople,capable
ofmammothachievements,andsothemakingofa“movie”inthecon-
ventionalsense,whichhasseriousartisticqualities,alwaysstrikesmeas
16 analmostsuperhumanaccomplishment.’^9 Nevertheless,thedistinction
8,9and10Cameraman,StillsManand
FindbyWillConnellfromhisbookIn
Pictures:AHollywoodSatire(NewYork,
1937).
