The 3rd issue of STREULICHT - Magazine for Photography and Related Matters is dedicated to the interplay between photography and cinematography.
Having begun in 1895, the art of film would not have been possible without the invention of photography, as this medium is at once the smallest unit of film and cinematic movement, as well as the manifestation of motion.
In its earliest stages this desire for motion made its self apparent in chronophotography and other early imaging techniques. Because the persistence of vision rests on the singularity of the image, we perceive multiple individual images as movement. It is ultimately this singular quality of photography that remains visible beyond the projection – the cinematic modus vivendi.
Thinking in pictures is generated by pre and post images that, in their movement and concatenation, constantly refer to an "outside," the hors moment of the individual image.
"In my film – and because of the very way that they float in the current of my normal life – my photographs become pauses in its fluxes, breaths of fresh air, windows on another time, on other places."
Robert Frank, for example, describes the use of photography in his films as contemplative moments that generate additional meaning and spaces that are suggestive of contexts beyond the film's narrative structure.
The far-reaching distribution of film through the medium of video and the accompanying fast-forward and rewind movements both interrupt and intensify the narration of images. Simultaneously these image movements serve as the starting point for analysis and self-reflexive thought and conversation about film and photography. And let's not forget that it is the montage that makes individual cinematographic thought collectively attainable. Contemporary individual and collective memories are furthermore and to a large degree based on moving images, be they documentary or fictional in nature.
The central topic of our upcoming issue is the ways in which photography and film – two quintessential contemporary image forms – penetrate, influence, contradict and complete one another, because ultimately, we dream in moving pictures and can remember only individual images.