Photography and Cinema (Reaktion Books - Exposures) by David Campany

By David Campany

What did the arriving of cinema do for images? How did the relocating photo switch our relation to the nonetheless picture? Why have cinema and images been so interested in one another? Close-ups, freeze frames and the numerous portrayals of photographers on reveal are symptoms of cinema’s enduring charm to the nonetheless photo. 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 photo for filmmakers similar to the Lumi?re brothers, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Chris Marker, Mark Lewis, Agn?s Varda, Peter Weir, Christopher Nolan etc. 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 confirmed an ambiguous realm among movement and stillness. David Campany assembles a lacking historical past during which images and cinema were each one other’s muse and proposal for over a century.

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They include projects as diverse as Joel Meyerowitz’s documentation of Ground Zero in New York; Paul Seawright’s and Simon Norfolk’s images of the traces of war in Afghanistan; Robert Polidori’s records of the damage wrought by Hurricane Katrina on New Orleans; and Sophie Ristelhueber’s images of the sabotaged Kuwaiti oilfields in 1991. In all of these examples photography has re-engaged its forensic function, although none of these photographers makes images that resemble police pictures. Instead, forensic attention to traces is spliced 45 46 with an almost classical sense of place typical of traditional landscape photography.

His A Sudden Gust of Wind (after Hokusai) is a ‘decisive moment’, assembled digitally from dozens of separately shot elements. Wall made the picture 36 Greta Garbo window display in a Spanish fashion store at the time of the release of Queen Christina (Rouben Mamoulian, 1933). 37 Queen Christina (Rouben Mamoulian, 1933), still. with the help of actors, assistants and a wind machine. The result does not look like a composite since it obeys the rules of the coherent, singular photograph. But once we sense or know that it may be a composite many things change, not least our relation to the wind blowing through it.

There is something theatrical in this shot of a visceral slap at the end of the war. The scene is reminiscent of a show trial taking place before the glare of the camera. The vantage point is ideal, as if the photographer had been granted it in advance. It is also a highly visible vantage point and may have influenced what was going on. 7 While its individual frames show less than the photograph, 19 Frame sequence from the documentary film Le Retour (Henri Cartier-Bresson, 1944–5). 18 top left: Henri Cartier-Bresson, ‘A Gestapo informer recognized by a woman she had denounced, deportation camp, Dessau, Germany, 1945’.

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