The Cinematic: (Documents of Contemporary Art)

Part of the acclaimed 'Documents of Contemporary Art' series of anthologies. This anthology surveys the rich history of relationships between the moving and the still image in photography and film, tracing their ever-changing dialogue since early modernism. Manifestations of the cinematic in photography and of the photographic in cinema have been a springboard for the work of many of the most influential contemporary artists. Their work is contextualized here alongside the work of leading photographers and filmmakers from Muybridge and Eisenstein to the present. Contributors include Roland Barthes, Jean Baudrillard, Raymond Bellour, Anton Giulio Bragaglia, Victor Burgin, Henri Cartier-Bresson, Catherine David, Thierry de Duve, Gilles Deleuze, Philip-Lorca diCorcia, Philippe Dubois, Régis Durand, Sergei Eisenstein, Mike Figgis, Hollis Frampton, Susanne Gaensheimer, Nan Goldin, Chris Marker, Christian Metz, Laura Mulvey, László Moholy-Nagy, Beaumont Newhall, Uriel Orlow, Pier Paolo Pasolini, Constance Penley, Richard Prince, Steve Reich, Carlo Rim, Raul Ruiz, Susan Sontag, Blake Stimson, Michael Tarantino, Agnès Varda, Jeff Wall, Andy Warhol and Peter Wollen.

Table of Contents:
Introduction; Motion Pictures; The Captive Moment; Seriality; Photography at the Cinema; From One Image to Another; Mixed Media/Mixed Memory; Bibliographic Notes; Bibliography; Index; Acknowledgements.

About the Author :
David Campany is an artist, writer and Reader in Photography at the University of Westminster, London. He is the author of Art and Photography (2003) and Photography and Cinema (2008).

Review :
"[Campany's] producing new ways of seeing and thinking by arranging textual elements into an organism of ideas. Readers will find themselves jumping ahead and then turning back to make new connections and assemblages... In short, you could call the whole thing an act of editorial metamorphosis." - Chris Chang, Film Comment "This anthology is brilliantly selected, combining key texts by critics and practitioners with less known but very illuminating ones. Every essay, interview and artist's text is a pleasure to read. Campany's thought-provoking introduction, structured around fast and slow, moving and still, provides an excellent overview of the field, picking out a number of key ideas on the relations between cinema and photography, culminating in the digital transformation of both. A great point of entry with much for the afficianado as well." - Michael Newman, Associate Professor, Art History, Theory and Criticism, School of the Art Institute of Chicago