Cover

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Title Page, Copyright, Dedication

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Contents

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pp. vii-viii

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Preface

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pp. ix-xiv

As critics we imagine that we look upon photography with open eyes, distanced from the visual culture in which the photographic image is still the prime molarity. We forget that there is an abstract machine of culture in which we are an essential part—as photographers, writers, critics, artists, family members. ...

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1. Cinema and the Event of Photography

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pp. 1-32

Vidocq was not released in the United States, United Kingdom, or Australia. Amid speculation surrounding the development of digital technology in the production of mainstream cinema, the first film to be made entirely on high-definition digital video (using a Sony/Panavision CineAlta, serial number 000001) slipped by virtually unannounced.1 ...

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2. Photographic Memory, Photographic Time

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pp. 33-64

In Michael Powell and Emeric Pressburger’s 1946 film, A Matter of Life and Death (UK, dir. Michael Powell, Rank/Archers, 1946; released in the USA as Stairway to Heaven), pilot Peter Carter (David Niven) suffers brain damage after bailing out of his stricken plane over the North Sea. ...

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3. The Division of Time

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pp. 65-98

In a short film from 1901—the type commonly known as an actuality— a crowd of workers and their families are seen exiting a factory. They amble by, clearly amused, and choke the camera’s fixed gaze. A man struggles into the crowd and, obviously noticing the bottleneck out of shot, urges the crowd on past the camera. ...

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4. Cinema’s Photographic View

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pp. 99-134

In a New York street photograph from 1940, a group of children are gathered by the curbside. Two boys pick up the pieces of a broken dressing mirror that is held upright on the sidewalk, one of them bending with his back to the road in which he stands. ...

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5. How Does a Photograph Work?

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pp. 135-168

The interpretation of photographs comes easy to us. They are, after all, images of the real world that, at first glance, require little or no extraneous information. Ordinarily we expect only the most limited context for an image, and then only occasionally would we expect that context to be other images. ...

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6. Becoming-Photography

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pp. 169-200

My Hustler (USA, dir. Andy Warhol, Andy Warhol Films, 1965), starring Paul America, Genevieve Charbon, Ed Hood, and Joseph Campbell, was filmed in 1965 and shown intermittently until it had a general release in 1971.1 It remains one of artist Andy Warhol’s most successful films, perhaps far more than much of his experimental work, ...

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7. The New Uses of Photography

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pp. 201-236

The twenty-four-hour gesture behind Andy Warhol’s Empire lurks beneath the history of the film as a work of art. The comprehensive nature of the attempt seems to match its elusiveness; it was a project doomed from the start, and yet this adds to its mystique. ...

Notes

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pp. 237-260

Index

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pp. 261-271