Since the development of film as an artistic medium in the 1890s, there has been an inherent tension between still photographic images and moving cinematic images, from their form and function to the messages they convey and their impact on the beholder and on culture at large. This volume, one of the first book-length works to analyze, critique, and further the international debate about the meaning and use of motion and stillness in film and photography, takes these concepts out of the theoretical arena of cinematic studies and applies them to the wider and ever-changing landscape of images and media.
With contributions from such acclaimed international scholars as Tom Gunning, Thomas Elsaesser, Mark B. N. Hansen, George Baker, Ina Blom, and Christa Bl mlinger, these collected essays examine the strategic uses of stillness and motion in art from the mid-nineteenth century to the technologically driven present.