Still Moving

Karen Beckman and Jean Ma; eds.

Description

In Still Moving noted artists, filmmakers, art historians, and film scholars explore the boundary between cinema and photography. The interconnectedness of the two media has emerged as a critical concern for scholars in the field of cinema studies responding to new media technologies, and for those in the field of art history confronting the ubiquity of film, video, and the projected image in contemporary art practice. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, the contributors to this volume address issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another.Foregrounding the productive tension between stasis and motion, two terms inherent to cinema and to photography, the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant-garde film, photography, and installation art. Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries, and that the question of medium specificity is a necessarily interdisciplinary question. From a variety of perspectives, the contributors take up that challenge, offering new ways to think about what contemporary visual practice is and what it will become.Contributors: George Baker, Rebecca Baron, Karen Beckman, Raymond Bellour, Zoe Beloff,Timothy Corrigan, Nancy Davenport, Atom Egoyan, Rita Gonzalez, Tom Gunning, Louis Kaplan,Jean Ma, Janet Sarbanes, Juan A. Suarez

Informations

• Publié par: Duke University Press
• Date de parution: 17 septembre 2008
• Nombre de lectures: 0
• EAN13: 9780822391432
• Langue: English
• Poids de l'ouvrage: 4 Mo

Extrait

STI LLMMOV I NG B e t w e e n C i n e m a a n d P h o t o g r a P h y

Karen Beckman and Jean Ma, editors

& ) 8 ; ) ) 2 ' - 2 ) 1 % % 2 ( 4 , 3 8 3 + 6 % 4 , =

Karen Beckman and Jean Ma, eds.

     2008

©  Duke University Press All rigts reserved.

Printed in te United States of America on acid-free paper ∞

Designed by Jennifer ill Typeset in Adobe Jenson Pro by Tseng Information Systems, Inc.

Library of Congress Cataloging-in-Publication Data appear on te last printed page of tis book.

/ : Duke University Press gratefully acknowledges te support of bot te University of Pennsylvania and Bard College, wic provided funds toward te production of tis book. Capter  originally appeared in he Event Horizon(), a catalog publised by te Iris Museum of Modern Art and edited by Micael Tarantino.

An earlier version of Capter  was publised inhe Lure of te Object (), edited by Stepen Melville and publised by te Sterling and Francine Clark Art Institute in .

An earlier version of Capter  was publised in Frenc for te catalog of te “States of te Image—Instants and Intervals” sow, curated by Raymond Bellour and Sergio Ma, at te Biennial Lisboa Poto .

  

Acknowledgments

vii

Introduction  Karen Beckman and Jean Ma

C o n t e n t s

o n e B e Y o n d R e F e R e n t I a  I t Y

Wat’s te Point of an Index? or, Faking Potograps  Tom Gunning “he Forgotten Image between Two Sots”: Potos, Potograms, and te Essayistic  Timoty Corrigan Structural Film: Noise  Juan A. Suárez

t W o n at I o n , M e M o R Y, H I s t o R Y

 An Essay onCalendar   Atom Egoyan  Potograpy’s Absent Times  Jean Ma



Vî

     

he Idea of Still  Rebecca Baron,interviewed byJanet Sarbanes Cras Aestetics: Amores Perros and te Dream of Cinematic Mobility  Karen Beckman Surplus Memories: From te Slide Sow to te Digital Bulletin Board in Jim Mendiola’s Speeder Kills  Rita Gonzalez

t H R e e W o R K I n G B e t W e e n M e d I a

     

Potograpy’s Expanded Field  George Baker Weekend Campus  Nancy Davenport AlepBeat: Wallace Berman between Potograpy and Film  Louis Kaplan Mental Images: he Dramatization of Psycological Disturbance  Zoe Beloff Concerning “te Potograpic”  Raymond Bellour

 References   Contributors   Index 

a C K n o W  e d G M e n t s

he editors warmly tank all te contributors. We would also like to tank te four anonymous readers, wose comments elped us clar- ify our vision of wat we wanted tis collection to accomplis. Special tanks go to Nancy Davenport for generously granting permission for te use of te cover image. We are very grateful to Ken Wissoker for is unwavering toug love and eye-opening advice as we worked on te introduction, and to te editorial staff at Duke—it as been a pleasure to work wit te Press.Still Movingis publised wit te assistance of subventions from te University of Pennsylvania Researc Foundation and Bard College, and we gratefully acknowledge tis support.