By Eivind Rossaak
Since the advance of movie as a creative medium within the Eighteen Nineties, there was an inherent stress among nonetheless photographic photos 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 foreign debate concerning the that means and use of movement and stillness in movie and images, takes those ideas out of the theoretical area of cinematic reviews 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 accumulated essays research the strategic makes use of of stillness and movement in paintings from the mid-nineteenth century to the technologically pushed present.
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Additional info for Between stillness and motion. Film, photography, aglorithms
Cinematic means of perception, of connecting space and time, of representing human memory, thinking, and emotion have become a way of work and a way of life for millions in the computer age. Cinema’s aesthetic strategies have become basic organizational principles of computer software. For this reason, I suggest that we reverse the directionality of the correlation between experimental film and new media, substituting for Lunenfeld’s claim the notion that experimental film aspired, as it were in advance of its actuality, to the condition of new media.
Metz extracts the most radical consequences from this situation: Movement is insubstantial. We see it, but it cannot be touched, which is why it cannot encompass two degrees of phenomenal reality, the “real” and the copy. Very often we experience the representation of objects as reproductions by implicit reference to tactility, the supreme arbiter of “reality” – the “real” being ineluctably confused with the tangible…. The strict distinction between object and copy, however, dissolves on the threshold of motion.
Noting that cinema is a “Greek word that means ‘movie,’” Frampton divorces cinema from the artifactuality of its institutional apparatus, which is to say, the fixed projection of moving images at a rate of fps: “The illusion of movement is certainly an accustomed adjunct of the film image, but that illusion rests upon the assumption that the rate of change between successive frames may vary only within rather narrow limits. ” Given its close association with Frampton’s metahistorical concept of the “infinite film” (a film that would appear to comprise all the images potentially generated by the world throughout its entire history), we might perhaps best understand this claim as an attempt to liberate movement or variation – the interval between any two states, which is precisely how I propose we understand cinematic movement – not simply from its historical subordination to still images (which informs our received notion of cinema as a sensory illusion created by the animation of photograms) but from the overcoding such movement-variation undergoes via its historical elective affinity with the cinema, understood narrowly as a technically-specified, institutionally stabilized regime of representation.