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Introduction
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The introduction provides an overview of the book and sets out the photographic stakes of stillness in the historical context of the early twentieth century and the invention of motion pictures. These two technologies—photography and motion pictures—provide the ground for reframing the modernist debate around stasis-kinesis, which has typically played out unevenly on the side of discourses of speed and acceleration, focusing on the creation and impact of ever newer and ever faster technologies of motion, such as the railway, the motor car, the modern assembly line, and motion pictures. However, stillness remains an obdurate stopping point and necessary critical intervention in such kinetic economies. Charting the book’s interdisciplinary terrain, the introduction brings art history and film studies to bear upon each other to determine the critical purchase of stillness, how it accrued a negative meaning, and how modernist writers, filmmakers, and artists negotiated its limits.
Title: Introduction
Description:
The introduction provides an overview of the book and sets out the photographic stakes of stillness in the historical context of the early twentieth century and the invention of motion pictures.
These two technologies—photography and motion pictures—provide the ground for reframing the modernist debate around stasis-kinesis, which has typically played out unevenly on the side of discourses of speed and acceleration, focusing on the creation and impact of ever newer and ever faster technologies of motion, such as the railway, the motor car, the modern assembly line, and motion pictures.
However, stillness remains an obdurate stopping point and necessary critical intervention in such kinetic economies.
Charting the book’s interdisciplinary terrain, the introduction brings art history and film studies to bear upon each other to determine the critical purchase of stillness, how it accrued a negative meaning, and how modernist writers, filmmakers, and artists negotiated its limits.
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