Still Moving: Between Cinema and Photography

Still Moving: Between Cinema and Photography

By: Karen Beckman (editor), Jean Ma (editor)Hardback

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Description

In Still Moving noted artists, filmmakers, art historians, and film scholars explore the boundary between cinema and photography. The interconnectedness of the two media has emerged as a critical concern for scholars in the field of cinema studies responding to new media technologies, and for those in the field of art history confronting the ubiquity of film, video, and the projected image in contemporary art practice. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, the contributors to this volume address issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another.Foregrounding the productive tension between stasis and motion, two terms inherent to cinema and to photography, the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant-garde film, photography, and installation art. Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries, and that the question of medium specificity is a necessarily interdisciplinary question. From a variety of perspectives, the contributors take up that challenge, offering new ways to think about what contemporary visual practice is and what it will become. Contributors: George Baker, Rebecca Baron, Karen Beckman, Raymond Bellour, Zoe Beloff,Timothy Corrigan, Nancy Davenport, Atom Egoyan, Rita Gonzalez, Tom Gunning, Louis Kaplan, Jean Ma, Janet Sarbanes, Juan A. Suarez

About Author

Karen Beckman is Elliot and Roslyn Jaffe Professor of Film Studies at the University of Pennsylvania. She is the author of Vanishing Women: Magic, Film, and Feminism, also published by Duke University Press. Jean Ma is Assistant Professor in the Department of Art and Art History at Stanford University.

Contents

Acknowledgments vii Introduction / Karen Beckman and Jean Ma 1 One. Beyond Referentiality 1. What's the Point of an Index? or, Faking Photographs / Tom Gunning 23 2. "The Forgotten Image between Two Shots": Photos, Photograms, and the Essayistic / Timothy Corrigan 41 3. Structural Film: Noise / Juan A. Suarez 62 Two. Nation, Memory, History 4. An Essay on Calendar / Atom Egoyan 93 5. Photography's Absent Times / Jean Ma 98 6. The Idea of Still / Rececca Baron, interviewed by Janet Sarbanes 119 7. Crash Aesthetics: Amores Perros and the Dream of Cinematic Mobility / Karen Beckman 134 8. Surplus Memories: From the Slide Show to the Digital Bulletin Board to Jim Mendiola's Speeder Kills / Rita Gonzalez 158 Three. Working Between Media 9. Photography's Expanded Field / George Baker 175 10. Weekend Campus / Nancy Davenport 189 11. Aleph Beat: Wallace Berman between Photography and Film / Louis Kaplan 196 12. Mental Images: The Dramatization of Psychological Disturbance / Zoe Beloff 226 13. Concerning "the Photographic" / Raymond Bellour 253 References 277 Contributors 293 Index 297

Product Details

  • ISBN13: 9780822341314
  • Format: Hardback
  • Number Of Pages: 328
  • ID: 9780822341314
  • ISBN10: 082234131X

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