End(ur)ing Photography
Bibliographic Data
| ID | 12919682 |
|---|---|
| Authors | Matilde Nardelli (0000-0003-4582-1024, corresponding author) |
| Year | 2012 |
| Volume | 5 |
| Issue | 2 |
| Pages | 159-177 |
| Publication date | 2012-08-28 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Photographies (JOURNAL) |
| Journal identifiers | ISSN: 1754-0763 • E-ISSN: 1754-0771 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/17540763.2012.700527 |
| OpenAlex | W2051352953 |
| Language | EN |
| Citations received | 1 |
| References cited | 9 |
As recent studies tend to note, the convergence of photography and cinema onto a shared digital platform has caused these media to shed some, if not all, of their specificity. Little thought has been given, in this context, to the way in which photography may be turning cinematic because of a shift toward the durational in the conditions of its experience. For, as a consequence of being most often consumed off a screen, the photograph is increasingly experienced as an image that, not unlike cinema, has duration and, indeed, ends. The present article considers what can be described as a “cinematization” of photography in contemporary viewing habits, and outlines a critical historical context for these changes in the slide projections and films of photographs of 1960s and 1970s visual art
Art · Context (archaeology · Movie theater · Photography · Visual arts · Cinema and Media Studies · History · Photography and Visual Culture · Visual Culture and Art Theory
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,2 |
| Citation span | 2021 - 2021 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |