Stillness in Motion brings together the writing of scholars, theorists, and artists on the uneasy relationship between Italian culture and photography.
Stillness in Motion brings together the writing of scholars, theorists, and artists on the uneasy relationship between Italian culture and photography.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Sarah Patricia Hill is a senior lecturer in Italian in the School of Languages and Cultures at Victoria University of Wellington
Inhaltsangabe
Introduction (Sarah Patricia Hill and Giuliana Minghelli) Part One: National Beginnings and Modernist Fears 1. Photography and the Construction of Italian National Identity (Roberta Valtorta, with Sarah Patricia Hill and Giuliana Minghelli) 2. Local Colour and the Grey Aura of Modernity: Photography, Literature, and the Social Sciences in Fin-de-Siècle Italy (Maria Grazia Lolla) 3. Eternal Speed/Omnipresent Immobility: Futurism and Photography (Giuliana Minghelli) Part Two: Modern Memory Objects: Social Histories of the Photograph 4. The Peripatetic Portrait: Exchange and Performance in Migration Photographs at the Turn of the Nineteenth Century (Giorgia Alù) 5. Presente! The Latent Memory of Italy’s Great War in its Photographic Portraits (Luca Cottini) Part Three: Photography and the Acceleration of Modernity: Reality-Commodity-Violence 6. Italian Neo-Realism between Cinema and Photography (Barbara Grespi) 7. Photographic Excess: “Scandalous” Photography in Film and Literature after the Boom (Sarah Patricia Hill) 8. Images of Violence, Violence of Images: The “Years of Lead” and the Practice of Armed Struggle between Photography and Video (Christian Uva) Part Four: Critiques of Modernity: Stillness, Motion, and the Ethics of Seeing 9. The Body in and of the Image in the Films of Yervant Gianikian and Angela Ricci Lucchi (Robert Lumley) 10. Intersections of Photography, Writing, and Landscape: The Italian Landscape Photobook from Ghirri to Fossati and Messori (Marina Spunta) Part Five: Documents and Experiences 11. A Photograph (Umberto Eco) 12. Essays: Photography and the Ready-Made and Apollo and Daphne: A Myth for Photography (Franco Vaccari); Interview with Franco Vaccari (Giuliana Minghelli)
Introduction (Sarah Patricia Hill and Giuliana Minghelli) Part One: National Beginnings and Modernist Fears 1. Photography and the Construction of Italian National Identity (Roberta Valtorta, with Sarah Patricia Hill and Giuliana Minghelli) 2. Local Colour and the Grey Aura of Modernity: Photography, Literature, and the Social Sciences in Fin-de-Siècle Italy (Maria Grazia Lolla) 3. Eternal Speed/Omnipresent Immobility: Futurism and Photography (Giuliana Minghelli) Part Two: Modern Memory Objects: Social Histories of the Photograph 4. The Peripatetic Portrait: Exchange and Performance in Migration Photographs at the Turn of the Nineteenth Century (Giorgia Alù) 5. Presente! The Latent Memory of Italy’s Great War in its Photographic Portraits (Luca Cottini) Part Three: Photography and the Acceleration of Modernity: Reality-Commodity-Violence 6. Italian Neo-Realism between Cinema and Photography (Barbara Grespi) 7. Photographic Excess: “Scandalous” Photography in Film and Literature after the Boom (Sarah Patricia Hill) 8. Images of Violence, Violence of Images: The “Years of Lead” and the Practice of Armed Struggle between Photography and Video (Christian Uva) Part Four: Critiques of Modernity: Stillness, Motion, and the Ethics of Seeing 9. The Body in and of the Image in the Films of Yervant Gianikian and Angela Ricci Lucchi (Robert Lumley) 10. Intersections of Photography, Writing, and Landscape: The Italian Landscape Photobook from Ghirri to Fossati and Messori (Marina Spunta) Part Five: Documents and Experiences 11. A Photograph (Umberto Eco) 12. Essays: Photography and the Ready-Made and Apollo and Daphne: A Myth for Photography (Franco Vaccari); Interview with Franco Vaccari (Giuliana Minghelli)
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