Naslov
Early Interactions of Static and Moving Images

Autori
Ramljak Purgar, Mirela

Vrsta, podvrsta i kategorija rada
Poglavlja u knjigama, znanstveni

Knjiga
The Palgrave Handbook of Image Studies

Urednik/ci
Purgar, Krešimir

Izdavač
Palgrave Macmillan

Grad
Cham

Godina
2021

Raspon stranica
147-166

ISBN
978-3-030-71830-5

Ključne riječi
static images, moving images, expressionism, Walter Benjamin, Ernst Ludwig Kirchner, woodcut

Sažetak
The article starts from the assumption that the understanding of visual culture at the beginning of the 20th century is based on the connection between static and moving images. Therefore, not only the image that precedes the film, which is the photograph, but also the image that is created under the influence of the film is investigated. In the text, we call such an image a static-moved image. It starts from Walter Benjamin's research in terms of new knowledge about the media of photography and film, not only according to the text “The work of art in the age of technical reproduction”, but also “Passagen-Werk”, where the key role of the new visual media of static and moving images is emphasized. The fact is that in the former text Benjamin discusses photography as much as a technological discovery as a new means of artistic expression. This helped us determine the context within which interactions between different visual media take place. Photography, for example, will be analyzed not only from the position of modernity, as seen by E. Calinescu or W. Hoffmann, but also as a new socially and technologically determined observer (Jonathan Crary and John Fullerton). The static-moved image is the one that we analyze on several examples of woodcuts from Ernst Ludwig Kirchner's oeuvre (Nude with a Black Hat, 1911-13 and Women on Potsdam Square, 1914). While the first woodcut is a combination of two different camera positions, the second it is not only about the metaphorical representation of the camera lens, but also about the movement of the camera through space and the specific treatment of the characters in the given space. The so called “hatches” point to a metaphor, and the elongated characters in the foreground and the emphatically reduced characters in the background speak in favor of this fact. At the same time, recording from the bottom up is placed in the duration - both of observation and assumed recording. The conclusion is reached about the motif of the painting as a pretext for observational games in the scene: from the artist-observer to every observer who is drawn into the game between the views of the depicted characters: towards the outside, towards us, or towards the characters themselves. Therefore, a static image is only apparently static, we discover its second modality.

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti

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