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Unit 1: Photography and Cinema

Unit tutor: Dr. Michael Pigott ( )

Autumn (weeks 1 – 5)

Week 1 – Technology and Truth

View from the Window at Gras (Joseph Nicéphore Niépce, c1826, heliograph)
View of the Boulevard du Temple, Paris (Louis Daguerre, c1838/39, daguerreotype)
The Falling Soldier (Robert Capa, 1936)
The Kiss at the Hotel de Ville, Paris (Robert Doisneau, 1950, Gelatin silver print)
Don Quixote in his Study (William Lake Price, 1855, Albumen print)

Required reading:
- André Bazin, 'The Ontology of the Photographic Image' in Andre Bazin, What is cinema? Volume 1. London: University of California Press (2005), pp.9-16
- Peter Wollen, Signs and Meaning in the Cinema (Bloomington, IN: Indiana University Press, 1972), pp.118 - 125

Further reading:
- Tom Gunning, ‘What’s the Point of an Index? Or, Faking Photographs’ in Karen Beckman and Jean Ma (eds.), Still Moving: Between Cinema and Photography (London: Duke University Press, 2008)
- Osip Brik, 'Photography versus Painting' in Art in Theory 1900-1990, ed. Charles Harrison and Paul Wood. Oxford: Blackwell (2003), pp. 470-473
- Daniel Morgan, ‘Rethinking Bazin: Ontology and Realist Aesthetics’ in Critical Inquiry no. 32 (Spring 2006).

Week 2 – Life and Death, Art and Technology

Workshop 1 – Images
Portrait of Lewis Payne (Alexander Gardner, 1865, Albumen silver print)
Nicaragua, 1979 (1) (Koen Wessing , 1979)
Nicaragua, 1979 (2) (Koen Wessing , 1979)
Gun 2, Little Italy (William Klein, 1955)
Blind Violinist, Abony, Hungary (André Kertész, 1921)

Required reading:
- Excerpts from Roland Barthes, Camera Lucida: Reflections on Photography (New York: Farrar, Straus and Giroux, 1981).

Workshop 2 – Images
The Steerage (Alfred Stieglitz, 1907, Photogravure)
The Flatiron (Edward Steichen, 1904-09, Gum bichromate over platinum print)
Pepper No. 30 (Edward Weston, 1930, Gelatin silver print)
Statue of Marshal Ney in the Fog (Brassaï, 1932, Gelatin silver print)
Fog, Avenue de l'Observatoire (Brassaï, 1934, Gelatin silver print)
Woman on Folden Arms (Man Ray, solarized image 1931)
Rayograph (Man Ray, photogram, 1922)

Required reading:
- Edward Weston, 'Seeing Photographically‘ in Liz Wells (ed.) The Photography Reader (London: Routledge, 2003).

Necrology (Standish Lawder, 1970, 12 mins)

Further reading:
- Roland Barthes, 'The Rhetoric of the Image' in Liz Wells (ed.) The Photography Reader (London: Routledge, 2003).
- John Berger, 'Understanding a Photograph‘ in John Berger, Understanding a Photograph (London: Penguin, 2013).
- Susan Sontag, 'In Plato's Cave' in On Photography (London: Penguin Books, 1979)
- Jean Epstein, ‘On Certain Characteristics of Photogénie’ in Sarah Keller and Jason N. Paul (eds.), Jean Epstein: Critical Essays and New Translations (Amsterdam: Amsterdam University Press: 2012).

Week 3 – Time and Sequence


The Horse in Motion (Eadweard Muybridge, 1878)
Bison Charging (Eadweard Muybridge, 1887)
Spherical type Gasholders (Bernd and Hilla Becher, 1983-92)
Every... Bernd And Hilla Becher Prison Type Gasholders (Idris Khan, 2004)
Every… Bernd And Hilla Becher Spherical Type Gasholders (Idris Khan, 2004)
Every... Bernd And Hilla Becher Gable Side Houses (Idris Khan, 2004)
Avalon Theatre, Catalina Island (Hiroshi Sugimoto, 1993, Gelatin silver print)
Cabot Street Cinema, MA (Hiroshi Sugimoto, 1978, Gelatin silver print)
Union City Drive-In, Union City (Hiroshi Sugimoto, 1993, Gelatin silver print)
Fox Theater, Detroit (Hirsohi Sugimoto, 1978, Gelatin silver print)

Mothlight (Stan Brakhage, 1963, 3 mins)
La Jetée (dir. Chris Marker, 1962, 28 mins)

Required reading:
- Peter Wollen, ‘Fire and Ice’ in David Campany (ed.) The Cinematic (London: Whitechapel, 2007).

Further reading:
- Janet Harbord, Chris Marker: La Jetée (London: Afterall Books, 2009).
- Hollis Frampton, ‘Eadweard Muybridge: Fragments of a Tesseract’ in On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton (London: MIT Press, 2009), pp. 22 – 32

Week 4 – Time and Space

River Scene, France (Camille Silvy, 1858, Albumen silver combination print)
A Sudden Gust of Wind (after Hokusai) (Jeff Wall, 1993, Transparency on lightbox)
Travellers Caught in a Sudden breeze at Ejiri (Hokusai, c1832, woodcut print)
The Rhine II (Andreas Gursky, 1999, C-Print)
99 Cent (Andreas Gursky, 1999, C-Print)

Fog Line (dir. Larry Gottheim, 1970, 11 mins.)
The Reflecting Pool (dir. Bill Viola, 1977-79, 7 mins.)

Required reading:
- Stanley Cavell, The World Viewed: Reflections on the Ontology of Film (Enlarged Edition) (London: Harvard University Press, 1979), pp. 23-25 – ‘Photograph and Screen‘
- Laura Mulvey, ‘A Sudden Gust of Wind (After Hokusai): From after to before the Photograph’ in Oxford Art Journal, Vol. 30, Issue 1 (2007), p29-37. Available HERE.

Further reading and viewing:
- Otto Neumaier, 'Space, Time, Video, Viola,' in The Art of Bill Viola, ed. Chris Townsend (London: Thames & Hudson, 2004), pp.46-71
- digital archive copy of George Barnard's Photographic Views of Sherman's Campaign:
- digital archive copy of Gardner's Photographic Sketchbook of the War:

Week 5 – Photography and Cinema

Untitled (Ophelia) (Gregory Crewdson, 2001, Digital C-Type print)
Selections from Untitled Film Stills series (Cindy Sherman, 1977-80)
Harry Maxwell Shot in Car (Weegee, 1941)
Anthony Esposito, booked on suspicion of killing a policeman (Weegee, 1941)
The dead man's wife arrived … and then she collapsed (Weegee, c1940)
Girl jumped out of car, and was killed, on Park Ave (Weegee, c1938)
Charles Sodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces (Weegee, 1942)
Untitled [Police officer and assistant removing body of Reception Hospital ambulance driver Morris Linker from East River, New York] (Weegee, 1943)

Required reading:

• David Campany, Photography and Cinema (London: Reaktion Books, 2008), pp.119 – 145 - 'Art and the Film Still‘.

Further reading:

- Christian Metz, 'Photography and Fetish‘, in October, Vol. 34. (Autumn, 1985), pp. 81-90.
- Jan Avgikos, 'Cindy Sherman: Burning Down the House‘ in Liz Wells (ed.), The Photography Reader (London: Routledge, 2003).