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Photography and Cinema

161 Pages · 2010 · 2.45 MB · English

  • Photography and Cinema

    Photography and Cinema


    David Campany Photography and Cinema EXPOSURESisaseriesofbooksonphotographydesignedtoexplorethe


    richhistoryofthemediumfromthematicperspectives.Eachtitle


    presentsastrikingcollectionofapproximately80imagesandan


    engaging,accessibletextthatoffersintriguinginsightsintoaspecific


    themeorsubject.


    Serieseditors:MarkHaworth-BoothandPeterHamilton


    Alsopublished


    PhotographyandAustralia HelenEnnis


    PhotographyandSpirit JohnHarvey Photography and Cinema


    David Campany


    reaktionbooks ForPolly


    PublishedbyReaktionBooksLtd


    33GreatSuttonStreet


    Londonec1v0dx


    www.reaktionbooks.co.uk


    Firstpublished2008


    Copyright©DavidCampany2008


    Allrightsreserved


    Nopartofthispublicationmaybereproduced,storedinaretrievalsystem,


    ortransmitted,inanyformorbyanymeans,electronic,mechanical,photocopying,


    recordingorotherwise,withoutthepriorpermissionofthepublishers.


    PrintedandboundinChinabyC&COffsetPrintingCo.,Ltd


    BritishLibraryCataloguinginPublicationData


    Campany,David


    Photographyandcinema.–(Exposures)


    1.Photography–History 2.Motionpictures–History


    I.Title


    770.9


    isbn–13:9781861893512 Contents


    Introduction 7


    one Stillness 22


    two PaperCinema 60


    three PhotographyinFilm 94


    four ArtandtheFilmStill 119


    Afterword 146


    References 148


    SelectBibliography 154


    Acknowledgements 156


    PhotoAcknowledgements 157


    Index 158 ‘...everythingstartsinthemiddle...’


    GrahamLee,1967 Introduction


    OpeningMovement


    On11June1895theFrenchCongressofPhotographicSocieties(Congrès


    dessociétésphotographiquesdeFrance)wasgatheredinLyon.Photography


    hadbeeninexistenceforaboutsixtyyears,butcinemawasanewinven-


    tion.LouisandAugusteLumièrehadjustbeengrantedapatentfortheir


    Cinématographe,thefirstmoviecameraandprojectionsystem.Louis,who


    workedforthefamily’sphotographybusiness,wastheretodemonstrateit.


    AboattriptoNeuville-sur-Saônehadbeenarrangedforthephotographers


    andLouissetuphiscameratorecordthem.Hefilmedastheycamedown


    thenarrowgangwayontothequayside.TheLumièresmadeseveralfilms


    ofpeoplefilingpasttheircamera,includingoneofworkersleavingtheir


    factory,thefirstfilmtobescreenedpublicly.1Thesubjectmatterwasideal:


    endlesslydifferentfigurespassingthroughafixedframeexpresssomuch


    sosimply,aboutphotographsinmotion.


    ThephotographershadheardoftheCinématographeandwerekeen


    toseeit.Inthefilm,whichislessthanaminutelong,somesmileself-


    consciouslyastheypass,otherswavetheirhats.Oneman,lookingmore


    serious,clutchesalargeplatecameratohischest.Heslowsdownashe


    passes,takesaquickphotoofLouisandthemoviecameraandrejoins


    theflow.2Thewhereaboutsofhissnapshotisunknown.Hemayhavenot


    actuallytakenone.Perhapswhatreallymatteredwasthefilmingofthe


    gesture,thefirstfootageofastillphotographer‘inaction’.Louiswasnot


    bluffing.Infact,thosephotographerswerethefirsttoseethefilmwhenit


    wasdevelopedandprojectedforthemthefollowingday.


    7 Whatmighttheyhavethoughtofwhattheysaw?WastheCinéma-


    tographesomethingfamiliarandagreeableorradicallydifferent?What


    effectwouldithaveonphotography?Whatpurposemightitserve?Was


    itcompetition?Wasitanoveltyorwoulditlast?Andwhatwasthemean-


    ingofthatmomentwhenLouiswasphotographedandthephotographer


    wasfilmed?Itpassesinsecondsbutitsenigmaremains.Wasitafriendly


    affirmationthatphotographerandfilmmakerwereessentiallythesame,


    orarealizationofprofounddifference?Wasthiscinemaaffirmingadebt


    tophotographyordistancingitself?Thequestionsmusthavebeenfelt


    1ArrivéedescongressistesàNeuville-


    acutely.Whatevercuriosityortrepidationthephotographersexperienced


    sur-Saône[ThePhotographicCongress


    astheywerefilmedwouldhavebeencompoundedastheywatchedtheir ArrivesinNeuville-sur-Saône].(Louis


    encounterplayedbackinrealtime. andAugusteLumière,1895),frame.


    Ofcourse,wecantracethedepictionofmovementinimagesasfar


    backaswelike,viatheperceptualrevolutionswroughtbyrailwaytravel,


    opticaltoys,theatre,panoramasandnarrativepainting,backtotheshadows


    flickeringonthewallofPlato’scave,butthereisnoparticularorigin.


    TheLumières’filmisagoodenoughplaceforustobeginhere.Notonly


    wasitthefirstmeetingofphotographyandcinema,itwasalsoameeting


    thatseemedtotakeplaceoncinema’sterms.Thisbookisathearta


    reflectiononwhatcinemahasdonefor,orto,stillphotography.Itlooks


    attheinfluencesofcinema–aesthetic,intellectualandtechnical.Itlooks


    attheinfluenceofthemovingimageonthesocialfunctionofphotographs.


    Itlooksatquestionsofcinematictimeandmotionandhowtheyhave


    reconfiguredphotographicstillness.


    FromOnetotheOther


    Photographyhasbeenmoredispersedthananyothermedium,including


    film.Almostfromthebeginningitwasputtouseacrossthespectrum


    oftheartsandsciences.Infact,itspreadsoquicklythatgettingagrip


    ontheparticularnatureofphotographysoonproveddifficult,andithas


    remainedso.Howcanoneuniteunderasingleidentityimagesasvaried


    aspassportphotos,advertising,topographicstudies,familysnaps,


    medicalrecords,newspicturesandpolicedocuments?Facedwithsuch


    8


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