STILL AND MOVING IMAGERY

photography and film share the same genetic code...

THE STILL AND THE SLOWED

For a number of structural filmakers, the projected film has functioned as the metaphorical and literal container of the photograph..


Michael Snow
Wavelength (1966-67)
..commentary on the limitless power of the moving image to contain and reframe a photograph in all of its haunting...


Hollis Frampton
Nostalgia (1971)
..demonstrates the triumph of the moving image over the photograph...


Peter Campus
Three Transitions (1973)
..the photograph is framed and ultimately overpowered by the moving image but nonetheless maintains a ghostly, echoing presence...


John Baldessari
Ed Henderson Reconstructs Scenarios (1973)
..although we "talk" an image into existence as we experience or "read" it, the moving image ultimately confounds the limits of verbal description...


Morgan Fisher
Standard Gauge (1984)
..enacts an intimate deconstruction of the cinematic apparatus...

Douglas Gordon
24 Hour Psycho (1993)
..renders the film almost as a sequence of photographs under the visible influence of formal enthropy...

Through a looking glass (1999)
..the rhetorical move of doubling and reversal creates an insular circularity that deatabilizes the anticipated momentum of narrative film shots...


William Kentridge
Felix in Exile (1994)
History of the Main Complaint(1996)

INTENTED PROJECT

My intention is to "animate" the photographic portrait by creating video portraits that will look like still photographs.

does the power of a portrait differ according to the medium that produces it?

which are the effects on viewer's perception?

esoptra