"Addresses the relationship between cinema and photography during the 20th century. It comes out of a dialogue between historians from both fields, equally represented in the table of contents. It opens the field of study beyond the domains of art and cinephilia to take into account the social uses of images, of popular media, and of a diversity of discursive fields, from medicine to pedagogy. It aims to move beyond general aesthetic considerations to deal with specific historical objects, including discourses"--Back cover.

DIVA collection of essays that discuss the relationship of film and photography, with a focus on medium specificity./div

Danny Clinch has established himself as a premier photographer of the popular music scene, photographing a wide range of art­ists from Johnny Cash and Tupac Shakur to Björk and Dave Matthews. His photos have appeared on hundreds of album covers, as well as in publications such as Vanity Fair, Spin, Rolling Stone, and the New Yorker, and his ad campaigns for John Varvatos have adorned city streets and billboards. This lavish monograph chronicles Danny Clinch’s illustrious career with more than 200 photographs of the most important musicians of all time, along with his personal anecdotes and a written contribution by Bruce Springsteen. With images ranging from backstage shots at the Grammys to intimate candids, Still Moving is the ultimate gift for music lovers.

Abbas Kiarostami (*1940 in Teheran) became known primarily for his films made in the seventies, which were awarded prizes at film festivals such as Cannes (Golden Palm 1997) and Venice. Despite large-scale solo exhibitions at institutions such as the Museum of Modern Art in New York and the Centre Pompidou in Paris, the photographic oeuvre of this artist, who studied painting, has yet to be showcased in germanophone countries. Whereas Kiarostami's films contain haunting images of the human experience, he trains his photographic eye on untouched landscapes, often taking years to develop the images into series such as Snow White (1978-2004) and Rain and Wind (2007). This publication explores the correlation between photographic and filmic vision, between still and moving images. Exhibition schedule: Situation Kunst (for Max Imdahl), Kunstsammlungen der Ruhr-Universität, Bochum, October 6, 2012-January 20, 2013 - Museum Wiesbaden, March 29-June 30, 2013 - Kunstsammlungen Chemnitz, July 14-September 29, 2013 - And further venues

Film is considered to be the dominant art form of the twentieth century. It can be considered many other things; a record of events, a modern mythology, a career, an industry, an art, a hobby, and much else. Michael Wood explores the history of film, its venture into the digital age, and its role and impact on modern society.

Over the past 40 years, Lois Greenfield has earned a reputation as one of the world's most accomplished and respected photographers of human motion. Her images of dancers in mid-flight or mid-movement are astonishingly beautiful and capture the magic of dance in a unique way. In the 17 years since her last book was published, Greenfield has moved into digital colour photography, and some 150 of these breathtaking images are reproduced in Moving Still. They reflect her collaboration with leading contemporary dancers, many of whom perform with international touring companies. The book reunites Greenfield with the distinguished writer and curator William A. Ewing, her enduring champion across the decades and author of her two previous monographs, who provides an illuminating introduction as well as an interview with the photographer about her recent work. The extended captions by Greenfield provide fascinating insights into the creative process. Divided into four picture sections, the free-flowing, rhythmic design of the book does justice to the majestic beauty of Greenfield's photographs.

A fascinating exploration of the role new media technologies play in our experience of film.

Since the development of film as an artistic medium in the 1890s, there has been an inherent tension between still photographic images and moving cinematic images, from their form and function to the messages they convey and their impact on the beholder and on culture at large. This volume, one of the first book-length works to analyze, critique, and further the international debate about the meaning and use of motion and stillness in film and photography, takes these concepts out of the theoretical arena of cinematic studies and applies them to the wider and ever-changing landscape of images and media. With contributions from such acclaimed international scholars as Tom Gunning, Thomas Elsaesser, Mark B. N. Hansen, George Baker, Ina Blom, and Christa Blümlinger, these collected essays examine the strategic uses of stillness and motion in art from the mid-nineteenth century to the technologically driven present.

Since that time, the projected image has become a prominent feature of contemporary art-making, and the incorporation of large-scale moving images by artists into installations now has a rich history. But due to the ephemeral nature of the original art works, many classic installations, while remembered, have not been widely seen.".

Summary: Het in de jaren zeventig opkomende debat binnen de filmwetenschappen over stilstaand ('still') tegenover bewegend beeld ('moving') werd gevoed door de 'apparatus theory' en het idee van verstilde beweging door belichting. Filmische beweging was een illusie, luidde het axioma; beweging een 'ideologische invloed van het filmische apparaat'. Stilstaand beeld gold als de verborgen, zelfs verdrongen, basis voor de industriële illusie van filmische beweging. De auteurs stellen voor om af te stappen van dit verstokte 'still/moving'-debat binnen de filmstudies en zich te richten op een positievere kritiek en een meer affectieve vorm van mediaarcheologie.