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FFIILLMM CCUULLTTUURREE IN TRANSITION Between Stillness and Motion FILM, PHOTOGRAPHY, ALGORITHMS EDITED BY EIVIND RØSSAAK Amsterdam University Press BetweenStillnessandMotion Between Stillness and Motion Film, Photography, Algorithms Edited by Eivind Røssaak The publication of this book is made possible by a grant from the Norwegian ResearchCouncil. Frontcoverillustration:TobiasRehberger,OnOtto,filmstill(KimBasinger watchingTheLadyfromShanghai),.CourtesyFondazionePrada,Milan Backcoverillustration:StillfromGreggBiermann’sSphericalCoordinates () Coverdesign:KokKorpershoek,Amsterdam Lay-out:japes,Amsterdam isbn (paperback) isbn (hardcover) e-isbn  nur  ©E.Røssaak/AmsterdamUniversityPress, Allrightsreserved.Withoutlimitingtherightsundercopyrightreservedabove, nopartofthisbookmaybereproduced,storedinorintroducedintoaretrieval system,ortransmitted,inanyformorbyanymeans(electronic,mechanical, photocopying,recordingorotherwise)withoutthewrittenpermissionofboth thecopyrightownerandtheauthorofthebook. Contents Acknowledgements  Introduction The Still/Moving Field:An Introduction  EivindRøssaak Philosophies of Motion The Play between Still and Moving Images:Nineteenth-Century “PhilosophicalToys” andTheir Discourse  TomGunning Digital TechnicsBeyond the“LastMachine”:Thinking Digital MediawithHollisFrampton  MarkB.N.Hansen The Use of Freeze and Slide Motion The Figure ofVisualStandstillinR.W.Fassbinder’sFilms  ChristaBlümlinger TheTemporalitiesoftheNarrative SlideMotionFilm  LivHausken The Cinematic Turn in the Arts Stop/Motion  ThomasElsaesser After “Photography’s Expanded Field”  GeorgeBaker OnOO:MovingImagesand theNewCollectivity  InaBlom 6 BetweenStillnessandMotion The Algorithmic Turn Mutable Temporality In and Beyondthe MusicVideo: AnAesthetic ofPost-Production  ArildFetveit Algorithmic Culture: Beyondthe Photo/FilmDivide  EivindRøssaak Archives in Between “The Archives ofthe Planet” andMontage:The Movementof the Crowd and“the RhythmofLife”  TrondLundemo GeneralBibliography  Contributors  Acknowledgements This book would not have been possible without the help of many generous colleaguesand supportiveinstitutions.Mysincere thanksgo tomyformercol- legues in the cross-disciplinary research project Media Aesthetics at the Univer- sity of Oslo and the University of Copenhagen: Liv Hausken, Ina Blom, Arild Fetveit,andSusanneØstbySæther.Theideaforthisbookwasbornanddevel- oped during this project. This research project was financed by the Norwegian Research Council and generously hosted by the Department of Media and Communication at the University of Oslo. Thanks also to the National Library of Norway for support in the book’s final stages. Most importantly, thanks to thecontributorsfortakingpartinthejointbookseminaratLysebuConference CenteroverlookingthewoodsofOsloin,where theseideaswereconsoli- dated and developed during lectures, presentations, conversations and idle talksintothenight.ThankyoualsototheSocietyofCinemaandMediaStudies forhostingseveralofthepapersattheirconferencesoverthepastdecade.Talks andconversationswithcolleaguesandstudentsattheseconferencesandatour respective universities and institutions also helped foster these ideas. Thanks alsotoChristianRefsum,NevenaIvanova,JihoonFelixKim,JonIngeFaldalen, D.N.Rodowick,W.J.T.Mitchell,MaryAnnDoaneandAlexanderGallowayfor inspirationandidletalks,andfinally,toThomasElsaesserformakingthispub- lishingprojectpossible.Thanksalsotoourtirelesscopyeditor,wordsmithKier- stenLeighJohnson. EivindRøssaak Oslo,BerlinandNewYork,March/April Introduction