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Queen Victoria, photography and film at the fin de siècle

the moment from an early stage, and visited the Alhambra Music Hall in June 1896 to see what had become the first major success of British ‘animated photography’: Robert Paul’s film of the Derby, won by the Prince’s horse, Persimmon. Having filmed the finish of the race at Epsom, when an enthusiastic crowd surged onto the course, Paul hurried back to London to develop and print the film, which he was

in The British monarchy on screen
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directly to other creative arts such as photography and painting. Yet, unlike paintings, sketches or engravings, film is not a static medium. It comprises a series of moving images which together create meaning. As André Bazin noted in relation to the ‘realism’ and ‘reality’ of some cinematic forms: ‘A film is always presented as a succession of fragments of imaged reality on a rectangular surface of given proportions, the ordering of the images and their duration on the screen determining its import.’3 In the previous chapter on film aesthetics, the different filmic

in Using film as a source
Sarah Turner’s Perestroika

– to employ the term developed by Laura Marks – halt the directional flow of the journey and carve out a space of embodied reflection, where individual identities dissolve into a state of collective becoming. 15 While the persistent movement of the train is central to its aesthetic and conceptual framework, we might also consider Perestroika as characterised by a tension between stillness and motion, and by a constant negotiation between photography and film. In a broad sense, the film hinges on two ghostly images: a still photograph of

in British art cinema
Spirit photography and contemporary art

with spirit photography, or which might have been placed with equal or greater effectiveness in alternative interpretive contexts. Durante’s work, for example, is concerned principally with tracking paths of light by using long exposures, while Crewdson appears indebted more to Hollywood film and a concern with the suburban uncanny than to the legacies of ­nineteenth-century spirit photography.47 The paranormal turn may be more accurately understood as a curatorial conceit, providing the explanations offered by curators with a reflexive character. The literature

in The machine and the ghost
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blur the boundaries between film, video, photography, and installation art. However, even when studying formally inventive documentaries that engage explicitly with the other visual arts, the prevailing critical methodology, especially within the Anglo-­ American tradition, prefers the cinema of cultural studies to a cultural studies of the cinema, so to speak.2 While Regarding the Real: Cinema, Documentary, and the Visual Arts also considers how some documentaries depict modern artists, artworks, and histories of art, it is more interested in addressing a different

in Regarding the real
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Eater at the Cannes Film Festival, 1964 12 Clayton at Jurassic Park: directing the scene on the boating lake in Our Mother’s House. Photography by Eve Arnold. Reproduced by courtesy of Eve Arnold and Magnum Photos, to whom grateful thanks

in Jack Clayton
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clothing, extensive information was provided on the people portrayed. Fashion in Artforum Since the early 1980s Artforum had embraced a broad range of cultural expressions apart from visual art, such as film, popular culture and mediated culture. Magazined art In an advert from 1985 the broad scope of the magazine was described as including: ‘architecture, dance, film, music, painting, performance, photography, sculpture and theatre, contemporary art and its many forms’.24 From 1985 onwards this was also announced in the editorial content as regular columns were

in Travelling images

of this rich and varied selection of films had had practically no contact at all with the world of cinema. The young Agnès Varda, born in Ixelles, Belgium, in 1928, studied art history at the Ecole du Louvre. Not satisfied with theoretical studies, she resolved to take up a more creative career, and settled on photography, which she studied at evening classes in the Ecole de Vaugirard. Her early interest in art history has, however, had a

in Agnès Varda
Open Access (free)

control or management of this powerful actinic light was only further emphasised and validated by the fact that the photograph of the therapeutic process was equally in control of that light. Because of what it is and what it represents, Figure 3.1 offers itself as evidence of both phototherapy and photography skilfully controlling the ‘injurious’ light rays that quickly blinded eyes and burnt skin and film

in Soaking up the rays

forms and contexts for mass consumption –​and there was no medium as potent or ubiquitous as the cinema. Film was able to transport its audience to actual, authentic locations, not mere pictorial or literary representations, and its bucolic depictions of the countryside ensured that it would be indelibly associated with the British landscape in the public consciousness. As early as 1903, the British Journal of Photography would extol the benefits that the relatively new medium could offer to the portrayal of rural life, declaring: [What] would not the rural councils

in British rural landscapes on film