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Making images move : photographers and avant-garde cinema

Author: Jan-Christopher Horak
Publisher: Washington, D.C. : Smithsonian Institution Press, ©1997.
Edition/Format:   Print book : Biography : EnglishView all editions and formats
Database:WorldCat
Summary:
In Making Images Move, Jan-Christopher Horak looks at the work of eight European and American photographers whose films illustrate the gradual fragmentation of realistic narratives during the last eighty years. In close analyses of specific works, he shows how the visions of early practitioners such as Paul Strand and Laszlo Moholy-Nagy, who tried to create meaningful political statements using modernist techniques,  Read more...
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Details

Genre/Form: Criticism, interpretation, etc
History
Material Type: Biography, Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Jan-Christopher Horak
ISBN: 1560987448 9781560987444
OCLC Number: 36930690
Description: xii, 297 pages : illustrations ; 24 cm
Contents: Photographers and film: an introduction. --
Chris Marker: photographic journeys. --
Helmar Lerski: the penetrating power of light. --
Paul Strand: romantic modernist. --
László Moholy-Nagy: the constructivist urge. --
Helen Levitt: seeing with one's own eyes. --
Robert Frank: daddy searching for the truth. --
Danny Lyon: that space of an absolute freedom. --
Ed van der Elsken: the infatuated camera.
Responsibility: Jan-Christopher Horak.

Abstract:

In Making Images Move, Jan-Christopher Horak looks at the work of eight European and American photographers whose films illustrate the gradual fragmentation of realistic narratives during the last eighty years. In close analyses of specific works, he shows how the visions of early practitioners such as Paul Strand and Laszlo Moholy-Nagy, who tried to create meaningful political statements using modernist techniques, gave way to the more personal - though no less socially conscious - creations of 1960s and 1970s filmmakers such as Chris Marker, Robert Frank, and Danny Lyon. Even documentary became more subjective, with Helen Levitt pioneering the use of the handheld camera and intuitive editing in her 1946 film, In the Street. Horak argues that photographers who have ventured into filmmaking, while fruitfully exploiting the differences between the two genres, often have been able to retain both their technical styles and complex thematic concerns. Including a filmography of more than 130 photographer-filmmakers, Making Images Move illuminates the instrumental role of these artists in the evolution of experimental cinema.

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Primary Entity

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