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Photography in Film and Video
Stephen Gordon
Photography in Film and Video
It is impossible however to talk about the relation between still and moving images in relation to movement and memory without taking into account the very act of perception - i.e. to include our experience of stills in videos and films.

Perception is not vision. If perception has to do with images it is because images are memories, as Chris Marker's film La Jetée (1962) suggests. Perception is an act of selecting images. Yet this selection is carried out not by the gaze but by all bodily senses. It can be argued that perception entails the capacity of the body to be affected - i.e. to feel the images that impact on us before we are able to interpret them. The way we perceive thus implies the way our senses are affected or touched by images. And this is the way the perception of stills in the videos and films of Marker, Michael Snow, Hollis Frampton, Stephen Dwoskin, John Smith, Tim Macmillan and Mona Hatoum can be understood.

By Stephen Gordon

This affective perception of a still image in a moving image entails the participation of the body in perception. When we perceive stillness we do not perceive from a static position and we do not perceive a static image. On the contrary, we perceive an intensification of movement each time images stop in a time-based medium.

Stephen Gordon
Still from Worse Case Scenario by John Smith, 2001-3
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