only seven or eight frames instead of like here [Jeanne Moreau’s
frozen poses inJules et Jim] which are frozen for thirty to thirty-five
frames. So when it’s a simple look frozen for seven frames it has
real dramatic intensity. You can’t say, just looking at it, unless
you’re an editor or director, “Hey a freeze frame! I’m interested in
invisible effects now”.’ From an interview with François Truffaut
in the short filmFrançois Truffaut; ou, l’esprit critique by Jean-Pierre
Chartier, 1965. In Truffaut’sJules et Jim( 1962 ), Jeanne Moreau’s
character flirts with her boyfriendsandthe camera. She strikes a
run of poses as if for a photographer and Truffaut freezes the frame
briefly each time, catching the chance abandon in her hair.two:Paper Cinema1 Victor Burgin, ‘Photography, Phantasy, Function’,Screen,xxi/ 1
(Spring 1980 ), pp. 43 – 80.
2 ‘The Art of Living a Hundred Years: Three Interviews with
M. Chevreul... on the Eve of his 101 st Year’,Le Journal illustré
( 5 September 1886 ). It was Felix Nadar’s son Paul who actually
took the photographs. The sequence was chosen from a total of
88 images. Nadar had planned to make an audio recording too,
but this came to nothing and he made do with his memory
of the conversation. See Michèle Auer,Le Premier Interview
photographique: Chevreul, Félix Nadar, Paul Nadar(Paris, 1999 ).
3 Alvin Tolmer,Mise en page(London, 1932 ).
4 This was El Lissitzky’s declaration (‘The Topography of Typography’,
Merzhefte, 4 , 1923 ):
1. The words of the printed sheet are to be seen, not heard.
2. One conveys concepts through conventional words; the concepts
should be shaped by the printed letters...
4. The construction of the book-space... according to the laws of
typographic mechanics must correspond to the expanding and
contracting pressures of the content ...
6. The continuous sequence of pages. The cinematic book.
7. The new book requires a new writer. The inkwell and the goose feather
are dead.
8. The printed sheet overcomes space and time. The infinity of books.
theelectrolibrary.
5 The need to rework existing images extends from Dadaist and
Cubist collage through Pop, Conceptualism and Postmodern art
right through to the present. In 2003 Colin McCabe, speaking of
Jean-Luc Godard’s appropriations of film clips that comprise his
Histoire(s) du Cinéma, suggested that ‘in a world in which we are
entertained from cradle to grave whether we like it or not, the
ability to rework image and dialogue... may be the key to both
psychic and political health.’ Colin McCabe,Godard: A Portrait of
the Artist at 70 (London, 2003 ), p. 301.
6 See Philippe-Alain Michaud, ‘Crossing the Frontiers: Mnemosynebetween Art History and Cinema’, inAby Warburg and the Image in
Motion(New York, 2004 ), pp. 277 – 91. Warburg’s Atlas was eventu-
ally published asDer Bilderatlas Mnemosyne, ed. Martin Warnke
and Claudia Brink (Berlin, 2000 ).
7 The photographer Gisèle Freund recalls demonstrating to Malraux
the possible effects of photographic lighting and the cropping of
sculpture inPhotographie et société(Paris, 1974 ).
8 See in particular Malraux’sLe Musée imaginaire de la sculpture mon-
diale(Paris, 1952 ), with its almost purely visual form and minimal
text.
9 Beaumont Newhall,Photography: A Short Critical History(New York,
1937 ), p. 89.
10 Arnold Fanck and Hannes Schneider,Wunder des Schneeschuhs:
ein System des richtigen Skilaufens und seine Anwendung. Mit 242
Einzelbilder und 1000 Kinematographischen Reihenbilder(Hamburg,
1925 ). Moholy-Nagy’sPainting, Photography, Filmalso pairs film
strips from Viking Eggeling’s abstract animationDiagonal
Symphony( 1921 – 4 ) with longer strips of skiing by Fanck.
11 Dr Arnold Fanck, ‘Photographed Movement’, in the English
-language supplement toDas Deutsche Lichtbild(Berlin, 1932 ),
pp. 23 – 7.
12 Indeed, Fanck later junked the instruction and re-presented his
film frames as visual spectacle inDas Bilderbuch des Skiläufers[The
Picture-book of Skiers] (Hamburg, 1932 ).
13 Many of the landmarks of modernist graphic design make use of
the film-strip, including Karel Teige,Film(Prague, 1925 ); Franz Roh
and Jan Tschichold,Photo Auge / Oeil et photo / Photo-Eye
(Stuttgart, 1929 ); Werner Gräff,Es kommt der neue Fotograf!(Berlin,
1929 ); Hans Richter,Filmgegner von Heute – Filmfreunder von Morgen
(Berlin, 1929 ); A. Arrosev,Soviet Cinema[designed by Alexander
Rodchenko and Varvara Stepanova] (Moscow, 1936 ); and G.
Schmidt, W. Schmälenbach and P. Bächlin,Der Film(Basle, 1947 ).
14 Zapruder sold the film to the Time-Life Corporation for $ 150 , 000.
Lifemagazine used the frames in several issues, including those of
29 November and 7 December 1963 ; 2 October 1964 ; 25 November
1966 ; and 24 November 1967. A copy of the film was made for the
fbi. Bootleg copies circulated, but the first public screening was on
theustelevision showGoodnight Americain March 1975.
15 Pier Paolo Pasolini, ‘Observations on the Long Take’,October, 13
( 1980 ), pp. 3 – 6 ; reprinted inThe Cinematic, ed. David Campany
(Cambridge,ma, and London, 2007 ).
16 Newhall,Photography, p. 89.
17 Brandt was un-credited inPicture Postfor these photographs.
Adopting the lighting and angles of the film, they have nothing of
his own style.
18 Lilliput, 140 (February 1949 ). The directors were David Lean,
Charles Crichton, The Boulting Brothers, Carol Reed, Anthony
Asquith, Alberto Cavalcanti, Ronald Neame and Robert Hamer.
150 19 ‘The Perfect Parlourmaid’,Picture Post,iv/4( 29 July 1939 ), pp. 43 – 7.