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The Early Promise and Disappointing Career of Time-Lapse Photography
David Lavery

Time-lapse photography—the extremely accelerated recording and projection of an event taking place over an extended duration of time—is almost as old as the movies themselves. (The first known use of time-lapse dates from 1898.) In the early decades of the twentieth century, cineastes, not to mention scientists, artists, and poets, waxed eloquently on the promise of time-lapse photography as a means for revealing “things we cannot see,” and expanding human perception. This essay examines time-lapses tremendous initial imaginative appeal for such figures as Ernst Mach, Germaine Dulac, Jean Epstein, Rudolf Arnheim, Laszlo Moholy-Nagy, and Collette, and speculates about the possible reasons for its diminution over the course of the century.

Film Studies
Abstract only
Dawn Lyon

writes ( 2004 : 17). When trying to grasp the rhythm of the street, he recommended the ‘marvellous invention’ of a balcony, and failing that a window, from where the flow of sounds and movements can be disentangled. At Billingsgate, I repeatedly found myself climbing the stairs and looking down on the market hall from the first-floor gallery in an effort to contain and clarify the sensory overload of being there. And here, the possibility of making a film based on time-lapse photography to ‘capture’ the rhythm of the market began to take shape. Lefebvre was

in Mundane Methods
Abstract only
Fin-de-siècle gothic and early cinema
Paul Foster

back to the pre-human is brilliantly realized through a dreamlike sequence, as everything reverses to “a kind of generalized animalism”’ ( 1981 : 117). If the sequence is akin to cinematic reverse motion, it also condenses time in the manner of time-lapse photography, which made its first feature film appearance in Georges Méliès’s Carrefour de l’Opéra (1897

in Monstrous media/spectral subjects
Moving pictures – painting, drawing and fi lmmaking
María José Martínez Jurico and Stephen G.H. Roberts

has no choice but to employ artifice in its attempt to reproduce reality. It was in recognition of this fact, he added, that he had decided to allow the camera to appear by itself towards the end of the film, when it is caught on screen recording the gradual putrefaction of the fallen quinces through the use of time-lapse photography. And yet the position, posture and gaze of the camera that we see in these

in Spanish cinema 1973–2010
Early life and short films
Rowland Wymer

included the use of speeded up footage, slowed down footage, time-lapse photography, rapid pans and zooms, deliberate camera shake, deliberate moves in and out of focus, extreme close-ups, shots into a mirror or other light source, rapid montages, refilmed images, and superimpositions. Three of these techniques, in particular, are worth further comment. The Nizo super-8 camera which Jarman began using in 1972 had a

in Derek Jarman
Television, formalism and the arts documentary in 1960s Britain
Jamie Sexton

originally accompany. Speed and free association are two of the most striking aesthetic aspects of New Tempo. Speed, of course, characterises the pace of the editing in some of the montage sequences, but it also characterises other aspects of the film: the swift movement of hand-held cameras, the pace of traffic within the frame, or of the intense motion produced by time-lapse photography. The image collages, meanwhile, are pieced together in a kind of ‘free association’: disjunctive montage sequences are often used not in a linear manner, but as motifs that obliquely

in Experimental British television
Des O’Rawe

and Strand’s Manhatta (1921, 10 min.). Other sequences from the film depict the demolition of a large building (using some time-­lapse photography), labourers and other workers eating in a busy café, boys swimming in the East River, and women leaving work, before the film ends with a series of panoramic shots of the bridge, set against the Manhattan skyline. For Burckhardt, the bridge does not just physically link Manhattan to Brooklyn, it delineates its own community, who live, work, eat, and play under its hospitable shadow. Somewhere in the city39 3  Under the

in Regarding the real
Australian films in the 1990s
Jonathan Rayner

’s overindulgence of Dawn. The peripheralisation of the characters from each other and their physical environment is relayed by the use of time-lapse photography and unbalanced and eccentric compositions. Hiding from the child next door, Kay conceals herself behind kitchen cupboards, with only her head showing above the bottom of the frame at the extreme right-hand side. Similarly Kay’s and Louis’ sexual impasse is illustrated by their motionless feet, on opposite sides of the bed and pushed to the extreme right of the frame. The

in Contemporary Australian cinema
Abstract only
Jonathan Rayner

coincidence at work in Lindsay’s novel, the film uses a variety of filmic techniques. The novel’s unpredictable shifts in tense and perspective are expressed through alterations in film speed. Time-lapse photography is used in the observation of ants consuming a celebration cake at the picnic grounds. The point of view of male characters watching the girls crossing the creek on their way up the Rock is relayed through eroticised slow motion. Weir also used a range of effects on the soundtrack to exaggerate the sense of

in Contemporary Australian cinema
Paul Henley

apprenticeship’, there are also passages of time-lapse photography, still photographs inserted into the middle of observational shots, and asynchronicity, all of which remind the viewer of the limitations of observational realism. Kalanda also goes beyond observation in its narrative structure, notably in relation to the principal structuring device of the apprentice sitting at the master's feet, who is then sent off to consult third parties. This device was entirely enacted for the film in the sense that the exchanges

in Beyond observation