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 "inter"disciplinary 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. Suarez
General
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