Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
07
09
23
39
David Green
Mary Ann Doane
jonathan Friday
55
Thinking Stillness
Yve Lomax
65
79
Melancholia
Kaja Silverman
97
"3
David Campany
john Stezaker
127
151
165
Laura Mulvey
Victor Burgin
179
Notes on Contributors
183
List of Illustrations
The s tarting point for this book was a conference bearing the sa me title
organised by Photoforum and held at the Kent Institute of Art and Design
in Canterbury in 2004. Th e m ajority of the essays publis hed here were
presented there for the first time. The thinking behind that ini tiative had
been to open up a s pace for recons idering the relationship between
photographic theory a nd the theory of the moving image as that has been
articulated in th e study of fi lm. Each of these areas had developed a rich and
sophi sticated body of ideas and modes of ana lysis during the 1970S and ea rly
'980s, inAuenced by semiotics, Ma rxism, psychoanalysis, post-structuralism
;md phenomenology. Yet whil st in evitably there had been some degree of
intercha nge between photog ra phy theory and fi lm theory each, neverth eless,
rema in ed fairly di screte from the othe r. I ndeed, as the introd uctory essay in
tli is book points out, the seminal writings by such figures as Walte r Benjamin,
Siegfried Kracauer, Andre Bazi n , Roland Barthes and Chris tian Metz te nded
10 focus upon wha t were seen as the essential diffe rences between the two
,"ediums of photography and film. Concepts of stillness, moveme nt and
lime were articu lated in a manner in which those differences cou ld be both
ide ntified and maintained.
It seemed to us that thi s implicit understanding was in need of re<"valuation. The primary reason why s uch a re-evaluation was necessa ry and perhaps even made possible - is undoubtedly the impact of new image
I<"chnologies. Technologica l developments and the emergence of the digital
,nl erface have seen the progressive e rosion of the bounda ries between th e
sl il l and moving image. We now have the capacity at the Aick of a switch to
s low or freeze the mov ing image, or to animate a still one. The equipment
arollnd us is programmed for a bewildering multiplicity of tasks that makes
il progressively difficult to identify the photograph itself as a stable entity
wi lh a privileged existence_ The photograph no longer seems to cut into th e
Ilow o f time itself: instead it seems to present us with a moment selected
lrolll a te mporality that has already been digitally encoded. Thus ' the
pllolog raph' now exists as only one option in an expanding me nu of
lqlrl'scntatioml and performative operations presented by the technology.
Joanna Lowry
David Green