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York’s filmmakers of the 1950s and Somewhere in the city33 1960s were attracted to the methods of the city’s avant-­garde artists. While various technological as well as social factors facilitated the popularity of New York street photography and documentary film after the Second World War, there was also a new motivation to develop aesthetically distinctive practices in both fields: if documentary film and photography were to be more than instruments of journalistic discourse, ephemeral purveyors of news for an ever-­expanding mass media, or­ – ­worse still

in Regarding the real

May issues of Monthly Film Bulletin and Sight and Sound thought it a ‘notable film’. The former added that it was made with a range and technical finish rare in present-day documentary while the latter praised its eloquent photography, the richness of texture in the music and the care and complexity of the editing. Humphrey Jennings’s contribution, the quietly patriotic

in British cinema of the 1950s
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and of a scene in perfect harmony, the length of his sequences (the party in La Règle du jeu) and the use of depth of field photography (the rabbit shoot in La Règle du jeu) that allows him to follow, observe, accompany his characters and their actions, in contrast to the continuities established by editing in the 1930s, particularly in American films, may in fact belong to one another, especially since these Renoirian

in Montage
Open Access (free)
Digital photography and cartography in Wolfgang Weileder’s Atlas

5 ‘Space-crossed time’: digital photography and cartography in Wolfgang Weileder’s Atlas1 Rachel Wells The places we have known do not belong only to the world of space on which we map them for our own convenience. They were only a thin slice, held between the contiguous impressions that composed our life at that time; the memory of a particular image is but regret for a particular moment; and houses, roads, avenues are as ­fugitive, alas, as the years. (Proust, 2002: 513) The creation of an ‘Atlas’ is an ambitious project. The word suggests accuracy in detail

in Time for mapping
Spiritualist phenomena, Dada photomontage, and magic

suggests a practice rooted in the matter of the world, not picturing the world, but of it. Doherty’s suggestion that Hausmann’s ‘new materials’ are linked to the documentary nature of photography implies that what is mimicked from photography and film is as much its choice of subject as the manner of its coming into being. The ‘exactness’ of photography, then, is more about its faithful reproduction of the surface of the world than its material contiguity with it, and yet Dada practice both acts as a counterpart to this and itself enacts the real of the world. As Doherty

in The machine and the ghost
Place, space and discourse
Editors: Christine Agius and Dean Keep

Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.

Britain’s stereoscopic landscapes

this stately river travelogue demonstrates one great power of the stereoscopic image –​the illusion of depth heralded since Victorian stereoscopic photography  –​but there remains a central ideological purpose to the film. Unlike the use of landscape in Northern Towers or Sunshine Miners, the emphasis here is on presenting the spectacle of stereoscopic rural landscape as the source of English heritage and history: the open fields, small villages and churches lead inexorably to the majesty of Windsor Castle (and then, to London). As the accompanying voiceover notes

in British rural landscapes on film
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point. I’d asked her what she thought was the explanation for the film’s long life, and she replied: Your question is … one I get asked a lot. I am not sure I know the answer. I would say firstly that the film is good and has become a classic because it has a truth in the playing, a script that is beautifully written and a skill in the photography, design and editing that work together in a very special way. Noel, David and Ronnie Neame [producer] were at the top of their game and it all gelled to make a memorable film. Trevor Howard and

in The never-ending Brief Encounter

3 Lynne Ramsay, cross-over cinema and Morvern Callar ‘Young, gifted and Scottish’: the auteur as national cinema milestone Implicit in the titling of ‘new’ cinema is a privileging of directordriven film-making such as that found in the French Nouvelle Vague, or the ‘new German cinema’, each of which have become historically synonymous with names such as Godard, Truffaut, Varda, Herzog, Fassbinder and the like. It is thus not surprising that Petrie’s account in Screening Scotland culminates with author­ ial cinema, portraying the emergence of distinctive writer

in Scottish cinema
Film theory’s foundation in medievalism

Western painting. It was redeemed from sin by Niepce and Lumière. In achieving the aims of baroque art, photography has freed the plastic arts from their obsession with likeness. 13 Medieval art here appears as radically different from modern art, and film as radically different yet again. The invention of photography by

in Medieval film