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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Design styles > Modernist design & Bauhaus
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Still Modernism - Photography, Literature, Film (Hardcover)
Loot Price: R2,477
Discovery Miles 24 770
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Still Modernism - Photography, Literature, Film (Hardcover)
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Still Modernism offers a critique of the modernist imperative to
embrace motion, speed, and mobility. In the context of the rise of
kinetic technologies and the invention of motion pictures, it
claims that stillness is nonetheless an essential tactic of
modernist innovation. More specifically, the book looks at the ways
in which photographic stillness emerges as a counterpoint to motion
and to film, asserting its own clear visibility against the blur of
kinesis. Photographic stillness becomes a means to resist the
ephemerality of motion and to get at and articulate something real
or essential by way of its fixed limits. Combining art history,
film studies and literary studies, Louise Hornby reveals how
photographers, filmmakers, and writers, even at their most kinetic,
did not surrender attention to points of stillness. Rather, the
still image, understood through photography, establishes itself as
a mode of resistance and provides a formal response to various
modernist efforts to see better, to attend more closely, and to
remove the fetters of subjectivity and experience. Still Modernism
brings together a series of canonical texts, films and photographs,
the selection of which reinforces the central claim that stillness
does not lurk at the margins of modernism, but was constitutive of
its very foundations. In a series of comparisons drawing from
literary and visual objects, Hornby argues that still photography
allows film to access its own diffuse images of motion;
photography's duplicative form provides a serial structure for
modernist efforts to represent the face; its iterative structure
articulates the jerky rhythms of experimental narrative as
perambulation; and its processes of development allow for the world
to emerge independent of the human observer. Casting new light on
the relationship between photography and film, Hornby situates the
struggle between the still and the kinetic at the center of
modernist culture.
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