, to see if you have full access to this publication.
Book Titles No access
Reel Photos
Balancing Art and Truth in Contemporary Film
Authors:
Publisher:
2015
Summary
Even in an age when the photograph has changed from a physical object into a data file that can be easily manipulated, we tend to believe what we see. But photographs can and do lie. As an object in a film, a photograph’s meaning and function can be even more malleable and deceiving, as new developments in technology are altering how we perceive reality.
In Reel Photos: Balancing Art and Truth in Contemporary Film, Wendy Sterba examines the use of photographs in cinema to explore issues of objectivity, subjectivity, fabrication, and fact. This study first looks at the traditional use of the photograph in films such as Blow-Up and then considers similar issues as they relate to the search for truth in detective films like Along Came a Spider, The Bone Collector, and Forgotten. Subsequent chapters explore ambivalence and photographic objectification in films about art photography, including The Governess, Fur, and Closer. Other movies discussed include Inception, Paparazzi, Under Fire, and Somebody Has to Shoot the Picture.
By examining the function of the photograph in movies rather than the role of film photography as art, Sterba provides an innovative approach to cinema studies. Utilizing theory in an intelligent but easily understandable way, this book allows readers to re-examine the role of authorship and the value of authentic art. Reel Photos will appeal to students and scholars of cinema, as well as anyone interested in the aesthetics of art and truth in film.
Search publication
Bibliographic data
Copyright year
2015
ISBN-Print
978-1-4422-4523-5
ISBN-Online
978-1-4422-4524-2
Publisher
Rowman & Littlefield, Lanham
Language
English
Pages
204
Product type
Book Titles
Table of contents
ChapterPages
Contents No access
Acknowledgments No access
Introduction No access
Ch01. The Loss of Photographic Objectivity No access Pages 1 - 26
Ch02. The Photograph in the Inverted Noir Film No access Pages 27 - 46
Ch03. Photographic Evidence and Detecting Truth No access Pages 47 - 66
Ch04. Alice in Furs No access Pages 67 - 78
Ch05. Media Hype and Mona Lisa No access Pages 79 - 96
Ch06. The Portrait Photographer No access Pages 97 - 110
Ch07. Change in Concept, Circuits, and the Hyperreal No access Pages 111 - 128
Ch08. Playing on the Periphery of the Virtual No access Pages 129 - 150
Ch09. Over the Edge? No access Pages 151 - 168
Ch10. Adorno, Benjamin, and Hope for the Photograph in The Good Night No access Pages 169 - 186
Filmography No access Pages 187 - 190
Bibliography No access Pages 191 - 196
Index No access Pages 197 - 202
About the Author No access Pages 203 - 204
Similar publications
from the topics "Art Sciences General", "Education General"
