By David Campany
What did the coming of cinema do for images? How did the relocating photo switch our relation to the nonetheless snapshot? Why have cinema and images been so attracted to one another? Close-ups, freeze frames and the numerous portrayals of photographers on display are symptoms of cinema’s enduring appeal to the nonetheless picture. Photo-stories, sequences and staged tableaux converse of the deep impact of cinema on photography. Photography and Cinema a considers the significance of the nonetheless snapshot for filmmakers akin to the Lumi?re brothers, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Chris Marker, Mark Lewis, Agn?s Varda, Peter Weir, Christopher Nolan and so on. In parallel it appears on the cinematic within the paintings of photographers and artists that come with Germaine Krull, William Klein, John Baldessari, Jeff Wall, Victor Burgin and Cindy Sherman. From movie stills and flipbooks to slip exhibits and electronic imaging, hybrid visible kinds have verified an ambiguous realm among movement and stillness. David Campany assembles a lacking heritage within which images and cinema were every one other’s muse and thought for over a century.
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In 1929 the writer Siegfried Kracauer had come to the same conclusion: 32 The street in the extended sense of the word is not only the arena of fleeting impressions and chance encounters but a place where the flow of life is bound to assert itself. Again one will have to think 22 Page spread from Moï Ver’s Paris (1931). mainly of the city street with its ever-moving crowds. The kaleidoscopic sights mingle with unidentified shapes and fragmentary visual complexes and cancel each other out, thereby preventing the onlooker from following up any of the innumerable suggestions they offer.
The freeze frame catches the glance and zooms tighter into his face, which shows no clear expression. The sounds continue, but we sense their disconnection from the image, cutting Antoine off from his surroundings. In that freeze an abyss opens up between the simplicity of what is seen and the complexity of what it may mean. Antoine’s face resembles a family snap but also a state identity photo. It could mean a future of frustration in schools and prisons or possible escape. It could suggest robust youth leading to a long life or the imminence of an early death.
The overall effect gives Nietzsche’s Paris a temporality all its own, one that is uncannily well suited to its subject matter: a past moment of future hope, re-imagined in the present. 41 Still Photography, Still 44 In photography something of this loss of faith in speed can be measured against the steady waning of interest in the instantaneous snapshot. As we have seen, it was only from the 1920s, in the shadow of cinema and with the growing dominance of print journalism, that photography became the modulator of the concept of the event.