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Still Moving: Between Cinema and Photographyby Karen Beckman
Synopses & Reviews
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. Suandaacute;rez
A collection of essays that discuss the relationship of film and photography, with a focus on medium specificity.
About the 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.
Table of Contents
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. andquot;The Forgotten Image between Two Shotsandquot;: Photos, Photograms, and the Essayistic / Timothy Corrigan 41
3. Structural Film: Noise / Juan A. Suandaacute;rez 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 andquot;the Photographicandquot; / Raymond Bellour 253
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