The most important readings:

 

Elvind Rossaak Between Stillness and Motion, Amsterdam University Press, 2007

 

David Green Marking Time: Photography, Film and temporalities of the image

 

Peter Wollen Fire and Ice in David Campany The cinematic, 2007

 

Mary Ann Doane 1) Temporality, Storage, Legibility & 2) After image, the Index and the Present Time, in The Emergence of Cinematic Time, Harvard University Press, 2002

 

Christian Metz Photography and Fetish, in Carol Squiers ed. The Critical Image, Bay Press, 1990

 

 Thierry de Duve, Time Exposure and the Snapshot: The Photograph as Paradox, October no 5 , Summer 1978

 

Roland Barthes The Third meaning: Research notes on some Eisenstein stills, Image Music Text, 1977

 

Roland Barthes Camera Lucida: Reflections on Photography, 1981

 

 

 

Essay Instructions:

 

How can we think the difference between the way in which the still and the moving image represent ideas about time? Does it still make sense to distinguish between the two?

 

Distinction between still image and moving image:

 

1. Christian Metz – Photography and Moving Image represents quite different kinds of image
2. Peter Wollen – ‘aspect’ – different but photography can represent complex kinds of time events, processes and duration
3. David Green – last section of the essay where he talks about how photography and moving image mutually refer to each other
4. Elvind Rossaak ed.

 

MAIN DISSCUSSION:

 

La Jetée, by Chris Marker – film made with stills !

Experimental film of science fiction by Chris Marker, famous french director, in 1962. Constructed almost entirely from still photos, it tells the story of a post-nuclear war experiment in time travel.

 

https://vimeo.com/46620661?width=1080

Taken with Time, Vera Lutter

Inspired by New York’s light, architecture, and perpetual state of flux, Vera Lutter turned to photography in the early 1990s as a means to record the continuously changing cityscape. To capture an immediate and direct imprint of her surroundings, she transformed her apartment into a large pinhole camera, employing the space that contained her personal experience as the apparatus that would document it. Lutter has since applied her technique to subjects across the world, but New York remains a central inspiration for her photographic work.

 

http://www.gagosian.com/now/vera-lutter

 

 

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