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Photography and Cinema (08 Edition)by Campany
Synopses & ReviewsPlease note that used books may not include additional media (study guides, CDs, DVDs, solutions manuals, etc.) as described in the publisher comments.
What did the arrival of cinema do for photography? How did the moving image change our relation to the still image? Why have cinema and photography been so drawn to each other? Close-ups, freeze frames and the countless portrayals of photographers on screen are signs of cinemas enduring attraction to the still image. Photo-stories, sequences and staged tableaux speak of the deep influence of cinema on photography.
Photography and Cinema a considers the importance of the still image for filmmakers such as the Lumière brothers, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Chris Marker, Mark Lewis, Agnès Varda, Peter Weir, Christopher Nolan and many others. In parallel it looks at the cinematic in the work of photographers and artists that include Germaine Krull, William Klein, John Baldessari, Jeff Wall, Victor Burgin and Cindy Sherman.
From film stills and flipbooks to slide shows and digital imaging, hybrid visual forms have established an ambiguous realm between motion and stillness. David Campany assembles a missing history in which photography and cinema have been each others muse and inspiration for over a century.
Is a DVD freeze-frame a photo? Is a video clip that’s shot on a digital camera a movie? Until now, few scholars have comprehensively examined the complex intersection between photography and film. With Photography and Cinema, David Campany offers an incisive study of how the overlap between the two media is forging new territory in visual studies.
The book draws on a fascinating selection of artists and works—including Alfred Hitchcock, The Matrix, Edward Weston, Bladerunner, and Leni Riefenstahl—to unearth the rich and sustained dynamic dialogue between the two mediums. Campany contends that photography and cinema have constantly borrowed from each other in numerous ways, and he examines such issues as photo essays and photo novels in print, the photographer as a filmmaker, photographic and filmic stillness, and photographers on screen. Understanding this little-known history is crucial to making sense of the ever closer relationship between the two in the future.
A richly illustrated and intriguing study, Photography and Cinema is essential reading for all scholars of visual studies.
About the Author
David Campany is a writer, artist and a reader in photography at the University of Westminster. He is the editor of the anthologies Art and Photography and The Cinematic.
Table of Contents
Introduction 1. Stillness 2. Paper Cinema 3. Photography in Film 4. Art and the Film Still Afterword ReferencesSelect BibliographyAcknowledgementsPhoto AcknowledgementsIndex
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