Nardelli, Matilde ORCID: https://orcid.org/0000-0003-4582-1024 (2012) End(ur)ing Photography. Photographies, 5 (2). pp. 159-177.

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Abstract

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.

Item Type:	Article
Identifier:	doi10.1080/17540763.2012.700527
Subjects:	Media > Photography Arts
Depositing User:	Matilde Nardelli
Date Deposited:	12 Aug 2024 08:18
Last Modified:	12 Aug 2024 08:30
URI:	https://repository.uwl.ac.uk/id/eprint/10458

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