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still and moving images

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Journal Article
Camera Obscura (2012) 27 (3 (81)): 137–147.
Published: 01 December 2012
... the effects on experimental media wrought by the proliferation of digital technologies, the deterioration of media formats, the migration of the moving image into the museum, the experimental community's greater sense of itself as international, and shifts in the kinds of institutions and informal structures...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 187–213.
Published: 01 May 2021
... up and expand on her lifelong passion for still and moving images, painting, photography, and cinema. The author also shows how Varda has rethought and reworked certain subjects that mattered to her throughout her career, by means proper to this new medium. Varda always had the gift to give us...
FIGURES | View All (8)
Journal Article
Camera Obscura (1991) 9 (3 (27)): 88–107.
Published: 01 September 1991
... stills appear to assume life -they move and speak. From replicas they become replicants thereby echoing from the latin the present active particle ans. However, it is the very “reality” we accord these past dead images that allows us to invest in the fictionality of the fiction film. Once...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 98–124.
Published: 01 September 1990
... of the images that compose them. They are characterized by two important features. On one hand, an oscillation between a moving and a stilled image: whether it is a simple matter of a petrified representation, or a real freeze-frame (as in this inverted shot of a cartoon image that comes from...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 50–66.
Published: 01 September 1977
... on the basis of problems raised in an analysis of an anima- ted film by Peter Foldes, Appetit d'oiseaa (Appetite ofa Bird).2 From the film ('the strip of film') to the film ('the projected film 'a continuous and moving image is substituted for a series of still and separ- ate perceptions': the code...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 112–132.
Published: 01 May 1988
... is that of the still vs. the moving image, photography vs. cinema. Like many an early film concerned to demonstrate within the film the su- perior powers of the moving image, The Photographer’s Mishap offers graphic testimony to the ability of film to register movement, loco- motion...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 194–197.
Published: 01 May 1979
... in position, although it is very difficult to tell if they are actually stopping or if it is a series of freeze frames. We are presented here with the implied movement in any still image and the potential stillness in any moving film image. We also see a curious, short scene in which...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 162–167.
Published: 01 September 1990
... the spectator -access to another space: that which works under and between the images. Another space: meaning (a banality) time. The time that space takes to be constituted (Still, La Desserte blanche), that the trace takes to appear and to be erased (Nostos I), that color takes to vary...
Journal Article
Camera Obscura (1980) 2 (3 (6)): 112–119.
Published: 01 December 1980
... into horizontal or oblique bars which appear to move in time to quite fantastic Duke Ehgton numbers and to form completely abstract sequences, depth of field eliminated, flattened out. At times when the light is very bright, the images look as if they have been superimposed. But it is the light...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 28–59.
Published: 01 September 1983
..., linked to its material violence as well as to its imaginary condition. Birth in the image, birth of the image. Writing / painting This image is also about painting-painting as its particular temptation, its unfulfilled wish. Of course, video still has a long way to go. It's still feeling its way...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 128–139.
Published: 01 May 1976
... camera and lights) and Le Pnntemps (1970, assistant camera and lights). Moved to New York in 1970. Has done a great deal of still photography ofplays and performance pieces for Richard Foreman, Yvonne Rainer, Trisha Brown, Joan Jonas, Steve Reich, Phil Glass and others; photos which have been...
Journal Article
Camera Obscura (2006) 21 (2 (62)): 184–191.
Published: 01 September 2006
... Krikorian, Vanitas, 1977 A R C H I V E F O R T H E F U T U R E Imagining Future Gardens of History Jackie Hatfield As an artist making expanded cinematic artworks, I have a vested interest in how the history of moving-image practice is written, as well...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 76–96.
Published: 01 May 1976
... in a totally different form, they re-create the feeling of the original. The fairly slow pace of the stills dissipates the shock of the or- iginal while intensifying the horror. Can I say that the horror has been " distilled" by the fact of each still "sitting still' for so long? The images...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 41–59.
Published: 01 May 2021
...). 18 If it is certainly Mary-Jane's maternal tenderness that attracts Julien, his move to touch her breast is more than a regressive, infant gesture. The scene holds exactly the tension of the film that takes a sacrosanct image of rapture between a mother and child, holds it up to the eye...
FIGURES
Journal Article
Camera Obscura (1988) 6 (3 (18)): 95–105.
Published: 01 September 1988
... on the part of the spec• tator. As an oxymoron-immobile movement-the tableau-shot, as he calls it, draws attention to the struggle between the still and the moving image, a struggle that in Godard's Passion becomes one between paint• ing and cinema. It is in those films...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 77–111.
Published: 01 May 2007
... Bellour observes that “the projection of one image onto the other, of one state of the image onto another” constitutes a process Undoing the Scene of the Crime  •  101 of temporal displacement that is active, though not identical, in the viewing of both still...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 61–85.
Published: 01 May 2021
... frequently explores this elusive temporal between through the diptychs and triptychs of her installations. Comprising only static images, or moving and still alike, these forms are also often covertly and rapidly inserted into the bodies of her films. The effect of such seeming formalism contributes not only...
FIGURES
Journal Article
Camera Obscura (1976) 1 (1 (1)): 104–126.
Published: 01 May 1976
... them laugh. They will not be able to have confi- dence in him. In the cave, the prisoner-spectators are seated, still, prison- ers because immobilized: unable to move-constraint or paralysis? It is true that they are chained, but, freed, they would still refuse to leave the place...
Journal Article
Camera Obscura (2023) 38 (3 (114)): 173–201.
Published: 01 December 2023
... to pose his question, the wires are tripped, and we are left with no answer from Steyerl: “I still don't know: What is your film about? . . . Whoops!” In a repetition of the way the opening sequence ended, the image fades to black and offers a backdrop to the closing credits, led by the mention: “A FILM...
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Journal Article
Camera Obscura (1984) 4 (3 (12)): 89–106.
Published: 01 December 1984
..., many of which appeared in Socialisme ou Barbarie, concern decolonialization and the war in Algeria. In the early seventies, Lyotard published the books that were to present his departure from traditional philosophy, moving outside of the accepted boundaries of aesthetics by proposing a theory...