RESEARCH GUIDE · ATLAS CROSS-INDEX
Photography, Cinema, Memory
Must photography belong to stasis, loss, and death while cinema alone possesses moving time? How does a photograph continue to become in viewing, opening both depths of recollection and unrealized futures?
CORE QUESTION
Must photography belong to stasis, loss, and death while cinema alone possesses moving time? How does a photograph continue to become in viewing, opening both depths of recollection and unrealized futures?
CONTRIBUTION
Sutton extends Deleuze's crystal-image to photography and rejects the model of the photograph as a sealed past instant. Its actual surface and virtual memory form an open circuit through which a fixed image can lead into wandering recollection and accumulate future possibility. The book develops a taxonomy of photographic time through Goldin, Atget, Warhol, and others, contrasting it with cinematic time since 1895.
READING ROUTE
Begin with the theoretical reformulation of the crystal-image and identify becoming within stillness. Across the photographic cases, record actual detail, activated virtual memory, and relations opening toward a future. Then compare cinema and ask how movement changes temporal structure. Finally, use an atlas crystal case to test whether photograph and film can share the same criterion of exchange.
CONTINUE THROUGH THE ATLAS
Connect this book to concepts, chapters, films, and evidence
EDITIONS & ACCESS
Return from the argument to verifiable editions
Photography, Cinema, Memory: The Crystal Image of Time
English · University of Minnesota Press · 2009
ISBN 9780816647392Verify original editionNo verifiable published translation was located in this review.
Purchase / library
The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.