The Cinematic (Whitechapel: Documents of Contemporary Art)
Language: English
Pages: 222
ISBN: 0262532883
Format: PDF / Kindle (mobi) / ePub
The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism.
Still photography -- cinema's ghostly parent -- was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on -- including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David -- documenting the photography-film dialogue that has enriched both media.
Victor Fleming: An American Movie Master (Screen Classics)
Interviews with Film Directors
Rape in Art Cinema (Continuum Film Studies)
Blade Runner (BFI Modern Classics)
experience is not genuine experience', he wrote, 'unless it becomes philosophy'.' So too, he insisted, aesthetic experience is 'not accidental to philosophy'. Philosophy when it is done right measures itself by art just as much as art realizes itself in philosophy: Stimson,'/The Pivot of the World//9 1 'What the philosophical concept will not abandon is the yearning that ani mates the non-conceptual side of art:• Not attempting to be either a philosophical system itself or the revelation or
aesthetic was concerned less with the photographic than with the pictorial, and hence refers to the conventions of painting and drawi ng. Studying the naked human figure in order to depict it in painting or drawing was not acceptable in the American academies of art duri ng Muybridge's time, but under the guise of the scientific investigation through photography of the body in motion. he was able to carry out studies of the nude forbidden to contemporaries like Thomas Eakins. Rather. then, than
the history of cinema take such a narrow view, regarding his work as significant only in so far as it serves as harbinger of the work of Thomas Edison and the Lumiere brothers. let alone that of Orson Welles. Stan Brakhage or Steven Spielberg. A case of disputed paternity As if questionable paternity were fated to pursue Muybridge both literally and figuratively in life and beyond the grave, the epithet 'father' must be deemed problematic from almost every point of view. The term drags with it a
and Cinema/1 1 45 Cinema has never been made with scraps; one realized very quickly that it was expensive and that it i mplied a certain ki nd of management of art in society. In the 1 920s there were privileged relations between photographers and film prod ucers. Dziga Vertov, Aleksandr Rodchenko, Sergei Ei senstei n, Llszl6 Moholy-Nagy - the collaboration of these photographers is documented in the legendary Film und Foto exhibition ( Stuttgart, 1929), which assembled the elite of creative
without wobble. Aside from that I'm a huge fan of the tripod and the locked off frame. We probably don't have enough time to get into this but what intrigues me right now is the contract we have with an audience: the suspension of disbelief contract. I feel it is something that needs to be constantly reaffi rmed and can never be taken for granted. It seems to me that this is an area you are also interested in. For me it is the reason constantly to examine form and structure so that I can maintain