Photography and Cinema

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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).
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