David Campany: Photography and Cinema (2008)

What did the arrival of cinema do for photography? How did the moving image change our relation to the still image? Why have cinema and photography been so drawn to each other? Close-ups, freeze frames and the countless portrayals of photographers on screen are signs of cinema’s enduring attraction to the still image. Photo-stories, sequences and staged tableaux speak of the deep influence of cinema on photography.

Photography and Cinema a considers the importance of the still image for filmmakers such as the Lumière brothers, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Chris Marker, Mark Lewis, Agnès Varda, Peter Weir, Christopher Nolan and many others. In parallel it looks at the cinematic in the work of photographers and artists that include Germaine Krull, William Klein, John Baldessari, Jeff Wall, Victor Burgin and Cindy Sherman.

From film stills and flipbooks to slide shows and digital imaging, hybrid visual forms have established an ambiguous realm between motion and stillness. David Campany assembles a missing history in which photography and cinema have been each other’s muse and inspiration for over a century.

Publisher Reaktion Books, 2008
Exposures (London)
ISBN 1861893515, 9781861893512
160 pages

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PDF (updated on 2012-7-15)

Victor Burgin (ed.): Thinking Photography, 2nd ed. (1982)

Seminal collection of essays on photography.

Contents:
The Author as Producer – Walter Benjamin
Critique of the Image – Umberto Eco
Photographic Practice and Art Theory – Victor Burgin
On the Invention of Photographic Meaning – Allan Sekula
The Currency of the Photograph – John Tagg
Looking at Photographs – Victor Burgin
Making Strange: The Shattered Mirror – Simon Watney
Photography, Phantasy, Function – Victor Burgin

Edition 2
Publisher Macmillan, 1982
Communications and culture
Volume 38 of Etudes de Radio-Television
ISBN 0333271955, 9780333271957
239 pages

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PDF (updated on 2012-7-18)

J.D.B. Stillman: The Horse in Motion (1882)

The book by J.D.B. Stillman, commissioned by Muybridge’s patron, the railroad baron Leland Stanford, was based on Muybridge’s now famous photographic studies of a horse galloping. But master and reluctant servant had fallen out, and the book was published under Stillman’s name, giving Muybridge negligible credit. The book contains detailed description of the studies into the motion of the horse (and other quadrupeds), with five of Muybridge’s photographs and ninety-one lithographs based on his photographs, plus line drawings. The book’s publication caused considerable embarrassment to Muybridge at the time, as his contribution to the scientific studies was now questioned by several authorities, but it is an important publication nonetheless.

The horse in motion as shown by instantaneous photography, with a study on animal mechanics founded on anatomy and the revelations of the camera, in which is demonstrated the theory of quadrupedal locomotion
Publisher J. R. Osgood, Boston, 1882
127 pages

View online (at Internet Archive)