Still Moving

“The project is an ambitious one that seeks to reorient the direction of film studies in a way that can escape from a strict temporal linearity. . . . This is a very contemporary book that effectively opens up fresh and rich directions for understandings of the moving image, and it will appeal to a broad range of readers interested in film studies, art history, and photography.” - Adam Dodd, M/C Reviews

“[T]heoretically incisive and up-to-the-minute. . .” - Tamara Trodd, History of Photography

“The works in this important book have been chosen for their ability to further existing discourses on the ways in which we view photographic and filmed images. I found it one of the most engaging and thought-provoking collections I have read for some time.” - Peter C. Pugsley, Media International Australia

"The editors of Still Moving aim to make the theoretical and methodological confusion that they diagnose into something productive. As part of this, it is important to them to situate Art History within this discourse. . . . This book aims to provoke inquiry into the differences between the two approaches of film and photography as well as between their explicit and implicit media identities in order to develop questions that will make new scholarly approaches possible." (translated from the German) - Nina Lindemeyer, Sehepunkte

“Still Moving engages new debate in a field central and crucial to cinema, media, and cultural studies. The collection explores the nature of photography and cinema both before and after the advent of digital media. As a result, some stunning work—on acceleration and simulation, on filming and editing in photographic and electronic media, on the fortunes of memory and oblivion, and on the dialogue and conflict of technologies—emerges from the tension of still and moving images.” - Tom Conley, author of Cartographic Cinema

“Still Moving maps out various interesting directions, trends, and tendencies inspired by the fact that moving-image media are losing their coherence, spinning out and recombining in interesting ways. In doing so, it opens up a number of fresh paths for examining what film and photography, as well as cinema studies and art history, will become. It will be widely read and discussed in the worlds of art and film, the classroom, the museum, and the gallery.” - D. N. Rodowick, Professor of Visual and Environmental Studies and Director of Graduate Studies in Film and Visual Studies, Harvard University