|Image from The Portraitist/Portrecista (Ireneusz Dobrowolski, 2005), Read Frances Guerin's essay on this film.|
The developments of new digital technologies and representational forms have revived interest between photography and cinema, an interest that is both creative and critical. Independent filmmakers are availing themselves of alternative exhibition formats and spaces for their work, and moving image experimentation is now commonplace in the fields of contemporary fine art, design, music, and theatre.
For this Special Issue of Screening the Past, guest editors Des O’Rawe and Sam Rohdie bring together a collection of original articles on the aesthetic and institutional relations between film, photography, and the visual arts, in particular writing that is attentive to cinematic forms and their reconfiguration within the contemporary visual arts.
As always, Film Studies For Free's little beating heart almost leapt out of its digital body at the news that a new issue of the Screening the Past journal had hit the e-stands. It's a special issue, the theme of which is Cinema/Photography: Beyond Representation (Issue 29, 2010). Below is the table of contents:
- George Kouvaros: He’s Not There: Robert Frank’s Me and My Brother.
- Lara Thompson: Monochrome Now: Digital Black and White Cinema and the Photographic Past.
- Sarinah Masukor: The Album of Everyday Life: The Photograph in the Films of Nuri Bilge Ceylan.
- Sam Rohdie: Profils Paysans.
- Des O’Rawe: Cinema Lucida: Johan van der Keuken and the Meaning of Loss.
- Rebecca Sheehan: The Time of Sculpture: Film, Photography and Auguste Rodin.
- Frances Guerin: Film as an Archive for Photography: The Portraitist as Witness to the Holocaust.
- Ji-hoon Kim: David Claerbout’s Digital Pensive Images.
- Wheeler Winston Dixon: Beyond Characterization: Performance in 1960s Experimental Cinema.
- George Kouvaros: Our Place in the World.
- Kathy Drayton: Inspiration and Girl in a Mirror.
- Gabrielle Murray: Fact and Fiction: The Iraq War Film in Absence.