Between Still and Moving Images traces the evolving concepts of movement, duration, and the moment grounded in the fusion of still and moving images. By examining the relationship between different forms of visual media, the essays in this collection demonstrate the impact of such visual fusion on artistic production across mediums. Of the multiple unexpected consequences in the shift to digital technologies, the sudden convergence of still and moving images is apparent in every domain, whether amateur or professional. The union of these visual states is primarily technical: the same machine may produce one and the other, a computer screen can display either one, and a single key is able to control the progression of images across the screen. It is as if still images have become a mere subcategory of animation, a transitional state wherein the transformation of the image is a click away.
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Table of Contents
Laurent Guido, Olivier Lugon
(University of Lausanne), Introduction
1. Founding Debates
Laurent Guido, Introduction. The Paradoxical Fits and Starts of the New "Optical Unconscious"; Tom Gunning (University of Chicago), The "Arrested "Instant: Between Stillness and Motion; Maria Tortajada (University of Lausanne), Photography/Cinema: Complementary Paradigms in the Early 20th Century; Mireille Berton (University of Lausanne), « A Subjectivity Torn between Stasis and Movement: Still Image and Moving Image in Medical Discourse at the Turn of the 20th Century; Samantha Lackey (University of Manchester), ‘A Series of Fragments’: Man Ray’s Le Retour à la raison (1923)
2. Crossings between Media
Olivier Lugon, Introduction. Between the Photograph and the Film Frame; Clément Chéroux (Centre Georges Pompidou, Paris), The Great Trade of Tricks: On Some Relations Between Conjuring Tricks, Photography, and Cinematography; Kim Timby (Musée Niépce, Chalon-sur-Saône), "Cinema in a Single Photo": the Animated Screen Portrait of the 1910s; Valérie Vignaux (Université François-Rabelais, Tours), The Pathéorama Still Film (1921): Isolated Phenomenon or Paradigm?; Christel Taillibert (Université Nice Sophia-Antipolis), The Mixed Use of Still and Moving Images in Education during the Interwar Period
3. Cinema and the Printed Page
Olivier Lugon, Introduction. Cinema Flipped Through: Film in the Press and in Illustrated Books; Thierry Gervais (Ryerson University, Toronto), "The Little Paper Cinema": the Transformations of Illustration in Belle Epoque Periodicals; Myriam Chermette (Université de Versailles, Saint Quentin-en-Yvelines), From Illustrated Narratives to Narratives in Images: Influences of the Moving Image on the French Daily Press in the Interwar Period; Michel Frizot (EHESS/CNRS, Paris), On Cinema Imaginary of Photography (1928–1930); François Albera (University of Lausanne), From the Cinematic Book to the Film-Book
4. Freeze Frames