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Still Moving: Between Cinema and Photography


Still Moving: Between Cinema and Photography Cover


Synopses & Reviews

Publisher Comments:

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

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. 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

References 277

Contributors 293

Index 297

Product Details

Beckman, Karen
Duke University Press
Beckman, Karen Redrobe
Beckman, Karen
Ma, Jean
Gunning, Tom
Corrigan, Timothy
Ma, Jean
Beckman, Karen
Motion pictures
Film & Video - History & Criticism
Film - History & Criticism
Film and Television-History and Criticism
Edition Description:
Trade Paper
Publication Date:
57 bandw photographs
9 x 6.13 in

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Related Subjects

Arts and Entertainment » Film and Television » History and Criticism
Arts and Entertainment » Photography » Theory and Criticism

Still Moving: Between Cinema and Photography New Trade Paper
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Product details 328 pages Duke University Press - English 9780822341550 Reviews:
"Synopsis" by ,
A collection of essays that discuss the relationship of film and photography, with a focus on medium specificity.
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