By Eivind Rossaak
Since the advance of movie as a creative medium within the Eighteen Nineties, there was an inherent rigidity among nonetheless photographic photographs and relocating cinematic pictures, from their shape and serve as to the messages they communicate and their influence at the beholder and on tradition at huge. This quantity, one of many first book-length works to investigate, critique, and additional the overseas debate in regards to the which means and use of movement and stillness in movie and images, takes those suggestions out of the theoretical area of cinematic reports and applies them to the broader and ever-changing panorama of pictures and media.
With contributions from such acclaimed foreign students as Tom Gunning, Thomas Elsaesser, Mark B. N. Hansen, George Baker, Ina Blom, and Christa Blümlinger, those accrued essays learn the strategic makes use of of stillness and movement in artwork from the mid-nineteenth century to the technologically pushed present.
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Extra resources for Between stillness and motion. Film, photography, aglorithms
My survey of several nineteenth-century devices for the production of moving images has tried to break away from simply drawing up a linear series of the devices that “led” to the movies. While not denying that narrative, in this chapter I tried to show the deeply dialectical relation between still and moving images which these devices reveal, especially when approached phenomenologically, rather than simply technically. Most centrally, I am arguing that the absolute novelty of the moving image – so delightfully evident in all these devices – posed a sources of anxiety (or at least confusion) for its early explicators, who used their explanation to reduce the moving image to an “illusion” founded in the “reality” of still images and the fallacy of human perception.
Wade, p. . Paris, p. . Wade, p. . Mannoni, p. . See also Stephen Herbert, A History of Pre-Cinema (London: Routledge, ) pp. -. , p. . Wade, p. . Herbert, p. . Jacques Deslandes reproduces a drawn version, which he identifies as ‘the first Phenakistiscope drawn by Plateau”. Deslandes, Histoire comparitif du cinema Vol. (Paris: Casterman, ), p. . Plateau, quoted in Wade, p. . Paris, p. . Herbert, pp. -. Crary, p. . Theodore Adorno, In Search of Wagner (London: NLB, ), pp.
Not without significance for the theme of this volume, Metz’s claim arises on the basis of a contrast between cinema and (still) photography and deserves to the quoted at some length: we may ask ourselves why the impression of reality is so much more vivid in a film than it is in a photograph…. … Two things, then, are entailed by motion: a higher degree of reality, and the corporality of objects. These are not all, however. Indeed, it is reasonable to think that the importance of motion in the cinema depends essentially on a third factor, which has never been sufficiently analyzed as such….