Between Still and Moving Images
Photography and Cinema in the 20th Century
Published on 31. October 2012
Book
Paperback/Softback
350 pages
978-0-86196-707-0 (ISBN)
Description
Between Still and Moving Images traces the evolving concepts of movement, duration, and the moment grounded in the fusion of still and moving images. By examining the relationship between different forms of visual media, the essays in this collection demonstrate the impact of such visual fusion on artistic production across mediums. Of the multiple unexpected consequences in the shift to digital technologies, the sudden convergence of still and moving images is apparent in every domain, whether amateur or professional. The union of these visual states is primarily technical: the same machine may produce one and the other, a computer screen can display either one, and a single key is able to control the progression of images across the screen. It is as if still images have become a mere subcategory of animation, a transitional state wherein the transformation of the image is a click away.
More details
Language
English
Place of publication
Australia
Publishing group
John Libbey & Co
Product notice
Paperback (trade)
Illustrations
189 b&w illus.
Dimensions
Height: 228 mm
Width: 151 mm
Thickness: 2 mm
Weight
940 gr
ISBN-13
978-0-86196-707-0 (9780861967070)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Persons
Laurent Guido is Professor of Film History and Aesthetics at the University of Lausanne.
Olivier Lugon is Professor of Art History at the University of Lausanne.
Olivier Lugon is Professor of Art History at the University of Lausanne.
Content
Laurent Guido, Olivier Lugon
(University of Lausanne), Introduction
1. Founding Debates
Laurent Guido, Introduction. The Paradoxical Fits and Starts of the New "Optical Unconscious"; Tom Gunning (University of Chicago), The "Arrested "Instant: Between Stillness and Motion; Maria Tortajada (University of Lausanne), Photography/Cinema: Complementary Paradigms in the Early 20th Century; Mireille Berton (University of Lausanne), A Subjectivity Torn between Stasis and Movement: Still Image and Moving Image in Medical Discourse at the Turn of the 20th Century; Samantha Lackey (University of Manchester), 'A Series of Fragments': Man Ray's Le Retour a la raison (1923)
2. Crossings between Media
Olivier Lugon, Introduction. Between the Photograph and the Film Frame; Clement Cheroux (Centre Georges Pompidou, Paris), The Great Trade of Tricks: On Some Relations Between Conjuring Tricks, Photography, and Cinematography; Kim Timby (Musee Niepce, Chalon-sur-Saone), "Cinema in a Single Photo": the Animated Screen Portrait of the 1910s; Valerie Vignaux (Universite Francois-Rabelais, Tours), The Patheorama Still Film (1921): Isolated Phenomenon or Paradigm?; Christel Taillibert (Universite Nice Sophia-Antipolis), The Mixed Use of Still and Moving Images in Education during the Interwar Period
3. Cinema and the Printed Page
Olivier Lugon, Introduction. Cinema Flipped Through: Film in the Press and in Illustrated Books; Thierry Gervais (Ryerson University, Toronto), "The Little Paper Cinema": the Transformations of Illustration in Belle Epoque Periodicals; Myriam Chermette (Universite de Versailles, Saint Quentin-en-Yvelines), From Illustrated Narratives to Narratives in Images: Influences of the Moving Image on the French Daily Press in the Interwar Period; Michel Frizot (EHESS/CNRS, Paris), On Cinema Imaginary of Photography (1928-1930); Francois Albera (University of Lausanne), From the Cinematic Book to the Film-Book
4. Freeze Frames
Laurent Guido, Introduction. Between Deadly Trace and Memorial Scansion: The Frozen Image in Film; David Forgacs (University College London), Photography and the Denarrativization of Cinematic Practice in Italy, 1935-55; Diane Arnaud (Universite Paris 7), After La Jetee: Cine-Photo Albums of the Disaster; Christa Bluemlinger (Universite Paris 3), Postcards in Agnes Varda's Cinema; Patricia Kruth (Universite de Lille),
Freeze Frame, Photograph, and Re-animation in Martin Scorsese's Films; Andre Habib (Universite de Montreal), Viva Paci (Universite du Quebec a Montreal), Photo Browse and Film Browse: Between Images that Move and Images that Remain (in Chris Marker's Work)
5. Contemporary Sequences
Olivier Lugon, Laurent Guido, Introduction. Sequencing, Looping; Guillaume Le Gall (Universite Paris 4), The Suspended Time of Movement: Muybridge, a Model for Conceptual Art; Wolfgang Brueckle (University of Essex), Chronophotography of Another Order: Nan Goldin's Life Told in Her Slide Shows; Barbara Le Maitre (Universite Paris 3),
Pensive Hybrids: On some of Raymond Depardon's Filmo-photographic Setups; Alain Boillat (University of Lausanne), The Paradoxical Status of the Referent of Stillness in Comics
Biographical Notes on the Contributors/
Index
(University of Lausanne), Introduction
1. Founding Debates
Laurent Guido, Introduction. The Paradoxical Fits and Starts of the New "Optical Unconscious"; Tom Gunning (University of Chicago), The "Arrested "Instant: Between Stillness and Motion; Maria Tortajada (University of Lausanne), Photography/Cinema: Complementary Paradigms in the Early 20th Century; Mireille Berton (University of Lausanne), A Subjectivity Torn between Stasis and Movement: Still Image and Moving Image in Medical Discourse at the Turn of the 20th Century; Samantha Lackey (University of Manchester), 'A Series of Fragments': Man Ray's Le Retour a la raison (1923)
2. Crossings between Media
Olivier Lugon, Introduction. Between the Photograph and the Film Frame; Clement Cheroux (Centre Georges Pompidou, Paris), The Great Trade of Tricks: On Some Relations Between Conjuring Tricks, Photography, and Cinematography; Kim Timby (Musee Niepce, Chalon-sur-Saone), "Cinema in a Single Photo": the Animated Screen Portrait of the 1910s; Valerie Vignaux (Universite Francois-Rabelais, Tours), The Patheorama Still Film (1921): Isolated Phenomenon or Paradigm?; Christel Taillibert (Universite Nice Sophia-Antipolis), The Mixed Use of Still and Moving Images in Education during the Interwar Period
3. Cinema and the Printed Page
Olivier Lugon, Introduction. Cinema Flipped Through: Film in the Press and in Illustrated Books; Thierry Gervais (Ryerson University, Toronto), "The Little Paper Cinema": the Transformations of Illustration in Belle Epoque Periodicals; Myriam Chermette (Universite de Versailles, Saint Quentin-en-Yvelines), From Illustrated Narratives to Narratives in Images: Influences of the Moving Image on the French Daily Press in the Interwar Period; Michel Frizot (EHESS/CNRS, Paris), On Cinema Imaginary of Photography (1928-1930); Francois Albera (University of Lausanne), From the Cinematic Book to the Film-Book
4. Freeze Frames
Laurent Guido, Introduction. Between Deadly Trace and Memorial Scansion: The Frozen Image in Film; David Forgacs (University College London), Photography and the Denarrativization of Cinematic Practice in Italy, 1935-55; Diane Arnaud (Universite Paris 7), After La Jetee: Cine-Photo Albums of the Disaster; Christa Bluemlinger (Universite Paris 3), Postcards in Agnes Varda's Cinema; Patricia Kruth (Universite de Lille),
Freeze Frame, Photograph, and Re-animation in Martin Scorsese's Films; Andre Habib (Universite de Montreal), Viva Paci (Universite du Quebec a Montreal), Photo Browse and Film Browse: Between Images that Move and Images that Remain (in Chris Marker's Work)
5. Contemporary Sequences
Olivier Lugon, Laurent Guido, Introduction. Sequencing, Looping; Guillaume Le Gall (Universite Paris 4), The Suspended Time of Movement: Muybridge, a Model for Conceptual Art; Wolfgang Brueckle (University of Essex), Chronophotography of Another Order: Nan Goldin's Life Told in Her Slide Shows; Barbara Le Maitre (Universite Paris 3),
Pensive Hybrids: On some of Raymond Depardon's Filmo-photographic Setups; Alain Boillat (University of Lausanne), The Paradoxical Status of the Referent of Stillness in Comics
Biographical Notes on the Contributors/
Index