Category Archive for: ‘Issue 29 – Special Issue: Cinema & Photography: Beyond Representation’

The world of which I am a part includes Julius Orlovsky. Julius is a catatonic, a silent man; he is released from a state institution in the care of his brother Peter. Sounds and images pass him and no reaction comes from him. In the course of the film he becomes like all the other people in front of my …

Fig. 1 One of the core values of the photograph as a visual object of communication is its temporal, emotional and connotative variety. In relation to motion and speed, the photograph, although essentially still as an object, frequently strains against its static boundaries, so that it can be encountered emotionally (as a process) across shifting temporal modes of spectatorial perception …

In Nuri Bilge Ceylan’s films, photography is present in the everyday lives of the characters. Their homes are decorated with family portraits and holiday snaps. Some of them are photographers and taking photos are as much part of their lives as doing the washing up, watching television and drinking tea. There is a lot of tea drinking and sitting around …

Profils Paysans (Farmer Profiles) is a film divided into three chapters made by Raymond Depardon and Claudine Nougaret centred on the lives of small farmers in the Cévennes region in southeastern France along the Massif Centrale. The area is mountainous and hilly, the farms isolated, set on the steep slopes of the Massif. The only farming possible on such land …

Images virtually rob us of our memory, because they replace it. – Johan van der Keuken[1] Johan van der Keuken was born in Amsterdam in 1938; he died from prostate cancer in 2001 after a long illness. The son of schoolteachers, he began taking photographs when he was twelve (in the company of his grandfather), and was already publishing his …

  Figure 1. The Kiss, Auguste Rodin, photographed by Eugene Druet, c. 1900. Part of a series of photographs in the collection of the Musée Rodin in Paris taken of The Kiss at various times of day. The rise of digital technology in filmmaking has brought us back to fundamental questions about the object of cinema studies. In this context, …

Harun Farocki reflects on the filmstrip-as-archive in a handful of films and writings from the 1990s.[1] In films such as Der Ausdruck der Hände (The Expression of Hands, 1997) and Arbeiter verlassen die Fabrik (Workers Leaving the Factory, 1995), Farocki’s film-archives are, in his own words, a form of classification, a “future library for moving images, in which one can …

The video installation works of Belgian artist David Claerbout explore the “pensive image” since they confront the viewer with photographs, whose mode of stillness guides her towards the contemplation of them. According to Jacque Rancière, the word “pensive” primarily refers to “someone who is … ‘full of thoughts’,” but this mental state is interlocked with a specific mode of the …