repliedthatinthefilm‘timecoursesthroughit’.Evenmainstreamcinema
haswithinitsgrammarthelongtakeofimmobility(thinkoftheclassic
establishingshot,orpensivespacesawaitingmovement,suchasrailway
platformsandemptyrooms).TheJapanesedirectorYasujiroOzu
punctuatedhisfilmswiththereal-timeshotsofalmoststaticsubjects:
abreezeongrass,ripplingwater,tremblingtrees,anunoccupiedbed
orjustanobject,likeavase.InhisanalysisofcinematictimeGilles
Deleuzenoted:
Atthepointwherethecinematographicimagedirectlyconfronts
thephoto,italsobecomesradicallydistinctfromit.Ozu’sstilllifes
endure,haveaduration,overtensecondsofthevase:thisduration
ofthevaseispreciselytherepresentationofthatwhichendures,
throughthesuccessionofchangingstates.^12
Theremarkisfromhistaxonomyofcinemathatmapsindetail
thechangingwaysthatcinemaunderstoodandshapedmovementand
timeacrossthetwentiethcentury.Deleuzeoffersanextraordinarilyrich
frameworkforthinkingaboutfilm’sproteanformthatmakesphotog-
raphyseemimpoverishedbycontrast.Ofcourse,toanextentitis,
becauseitisdeprivedofsomanyoftheresourcesofcinema.Andmore
oftenthannotfilmtheoriststendtoseephotographyasarawandele-
mentalunit,awaitingcinematicarticulationasoneof 24 persecond.^13
Yet,awayfromcinemawecanseethatphotographyhasalwayshad
itsowncomplexengagementwithtimeandmovement.Thinkofthe
‘decisivemoment’,thepregnantmoment,theconstructedtableau,
flashphotographyandthelongexposure,tonameoffewofitsdifferent
temporalities.Tothesewecouldaddalltheproceduresofassemblyso
centraltothedevelopmentofphotography:thealbum,thearchive,
thediary,thephoto-novel,thephotoessay,sequences,juxtapositions,
montage,collage,theslideshowandallthenewmodesopenedupby
electronictechnologies(seechapterOne).Thetimeandmovementof
photographydeserveananalysiseverybitassophisticatedasthose
extendedtofilm.
18
11AndyWarhol,Empire(1964)?16mmfilm,
blackandwhite,silent,8hours,6minutes
(approx.),frames.12AndyWarhol,MaryWoronov,blackand
whitephotoboothstrip,1964.13 ScreenTest(SusanSontag)(Andy
Warhol,1964).16mmblackandwhite,
4mins(approx),frame.