Still Moving

Between Cinema and Photography

Still Moving

Book Pages: 328 Illustrations: 57 b&w photographs Published: September 2008

Art and Visual Culture > Art Criticism and Theory, Photography, Media Studies > Film

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. Suárez


“The project is an ambitious one that seeks to reorient the direction of film studies in a way that can escape from a strict temporal linearity. . . . This is a very contemporary book that effectively opens up fresh and rich directions for understandings of the moving image, and it will appeal to a broad range of readers interested in film studies, art history, and photography.” — Adam Dodd, M/C Reviews

“[T]heoretically incisive and up-to-the-minute. . .” — Tamara Trodd, History of Photography

“The works in this important book have been chosen for their ability to further existing discourses on the ways in which we view photographic and filmed images. I found it one of the most engaging and thought-provoking collections I have read for some time.” — Peter C. Pugsley, Media International Australia

"The editors of Still Moving aim to make the theoretical and methodological confusion that they diagnose into something productive. As part of this, it is important to them to situate Art History within this discourse. . . . This book aims to provoke inquiry into the differences between the two approaches of film and photography as well as between their explicit and implicit media identities in order to develop questions that will make new scholarly approaches possible." (translated from the German) — Nina Lindemeyer, Sehepunkte

Still Moving engages new debate in a field central and crucial to cinema, media, and cultural studies. The collection explores the nature of photography and cinema both before and after the advent of digital media. As a result, some stunning work—on acceleration and simulation, on filming and editing in photographic and electronic media, on the fortunes of memory and oblivion, and on the dialogue and conflict of technologies—emerges from the tension of still and moving images.” — Tom Conley, author of Cartographic Cinema

Still Moving maps out various interesting directions, trends, and tendencies inspired by the fact that moving-image media are losing their coherence, spinning out and recombining in interesting ways. In doing so, it opens up a number of fresh paths for examining what film and photography, as well as cinema studies and art history, will become. It will be widely read and discussed in the worlds of art and film, the classroom, the museum, and the gallery.” — D. N. Rodowick, Professor of Visual and Environmental Studies and Director of Graduate Studies in Film and Visual Studies, Harvard University


Availability: In stock
Price: $27.95

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Author/Editor Bios Back to Top

Karen Beckman is Elliot and Roslyn Jaffe Professor of Film Studies at the University of Pennsylvania. She is the author of Vanishing Women: Magic, Film, and Feminism, also published by Duke University Press.

Jean Ma is Assistant Professor in the Department of Art and Art History at Stanford University.

Table of Contents Back to Top
Acknowledgments vii

Introduction / Karen Beckman and Jean Ma 1

One. Beyond Referentiality

1. What's the Point of an Index? or, Faking Photographs / Tom Gunning 23

2. "The Forgotten Image between Two Shots": Photos, Photograms, and the Essayistic / Timothy Corrigan 41

3. Structural Film: Noise / Juan A. Suárez 62

Two. Nation, Memory, History

4. An Essay on Calendar / Atom Egoyan 93

5. Photography's Absent Times / Jean Ma 98

6. The Idea of Still / Rececca Baron, interviewed by Janet Sarbanes 119

7. Crash Aesthetics: Amores Perros and the Dream of Cinematic Mobility / Karen Beckman 134

8. Surplus Memories: From the Slide Show to the Digital Bulletin Board to Jim Mendiola's Speeder Kills / Rita Gonzalez 158

Three. Working Between Media

9. Photography's Expanded Field / George Baker 175

10. Weekend Campus / Nancy Davenport 189

11. Aleph Beat: Wallace Berman between Photography and Film / Louis Kaplan 196

12. Mental Images: The Dramatization of Psychological Disturbance / Zoe Beloff 226

13. Concerning "the Photographic" / Raymond Bellour 253

References 277

Contributors 293

Index 297
Sales/Territorial Rights: World

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Additional InformationBack to Top
Paper ISBN: 978-0-8223-4155-0 / Cloth ISBN: 978-0-8223-4131-4
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