The camera’s movement in a film may seem straightforward or merely technical. Yet skillfully deployed pans, tilts, dollies, cranes, and zooms can express the emotions of a character, convey attitude and irony, or even challenge an ideological stance. In The Dynamic Frame, Patrick Keating offers an innovative history of the aesthetics of the camera that examines how camera movement shaped the classical Hollywood style. In careful readings of dozens of films, including Sunrise, The Grapes of Wrath, Rear Window, Sunset Boulevard, and Touch of Evil, Keating explores how major figures such as F. W. Murnau, Orson Welles, and Alfred Hitchcock used camera movement to enrich their stories and deepen their themes. Balancing close analysis with a broader poetics of camera movement, Keating uses archival research to chronicle the technological breakthroughs and the changing division of labor that allowed for new possibilities, as well as the shifting political and cultural contexts that inspired filmmakers to use technology in new ways. An original history of film techniques and aesthetics, The Dynamic Frame shows that the classical Hollywood camera moves not to imitate the actions of an omniscient observer but rather to produce the interplay of concealment and revelation that is an essential part of the exchange between film and viewer.

"Mr. Jurgenson makes a first sortie toward a new understanding of the photograph, wherein artistry or documentary intent have given way to communication and circulation. Like Susan Sontag’s On Photography, to which it self-consciously responds, The Social Photo is slim, hard-bitten and picture-free." – New York Times A set of bold theoretical reflections on how the social photo has remade our world. With the rise of the smart phone and social media, cameras have become ubiquitous, infiltrating nearly every aspect of social life. The glowing camera screen is the lens through which many of us seek to communicate our experience. But our thinking about photography has been slow to catch-up; this major fixture of everyday life is still often treated in the terms of art or journalism. In The Social Photo, social theorist Nathan Jurgenson develops bold new ways of understanding photography in the age of social media and the new kinds of images that have emerged: the selfie, the faux-vintage photo, the self-destructing image, the food photo. Jurgenson shows how these devices and platforms have remade the world and our understanding of ourselves within it.

Antoine de Baecque proposes a new historiography of cinema, investigating how cinematic representation changes the very nature of history.

The objective of this publication is to trace and describe the artistic and institutional decisions that have influenced the work of Camera Austria, which has been made visible through numerous exhibitions and symposiums on photography and, since 1980, by the magazine Camera Austria International. Operating through a comprehensive network of photographers, academics, and art critics from all over the world, the?laboratory? Camera Austria has shaped the photographic culture both internationally and regionally. At the centre of the book are positions of artists that Camera Austria has worked with for exhibitions, who have presented their work at the symposiums and contributed to the magazine.

"Victor Burgin is one of the most influential artists and writers working today. He came to prominence as a key figure in the Conceptual Art of the late 1960s. After turning to photography in his artistic practice he produced a series of groundbreaking theoretical essays that drew on semiotics, psychoanalysis and feminism in order to think through the ideological role of photographs in the production of beliefs and values, and in the understanding of memory, history, subjectivity and space. In the last decade or so, Burgin has worked with computer-generated imagery and the virtual camera. But rather than accepting a radical divide between so-called 'analogue' and 'digital' realms, Burgin has emphasised the continuity of the virtual camera, the various physical cameras in use today, and the painted images of Quattrocento painting - all of which have their essence in the perspectival system of representation. Further to this, Burgin argues that no image is merely an optical experience - all images are essentially psychological events and thus virtual also. Inseparable from language, they form the psychical spaces of fantasy and projection, recognition and misrecognition. Whether on pages, walls or screens, in galleries or online, single views, or swarms of picture fragments, images are the making and unmaking of our sense of self, and the world around us. This collection brings together for the first time Victor Burgin's writings related specifcally to the camera, following the shifts and nuances in his thinking over nearly five decades. Moreover, it allows us to chart the evolution of what the camera was and is, and how its affects are to be understood."--Publisher's website

Playing to the Camera is the first full-length study devoted to the musical performance documentary. Its scope ranges from rock concert films to experimental video art featuring modernist music. Unlike the "music under" produced for films by unseen musicians, on-screen "live" performances show us the bodies that produce the sounds we hear. Exploring the link between moving images and musical movement as physical gesture, this volume asks why performance is so often derided as mere skill whereas composition is afforded the status of art, a question that opens onto a broader critique of attitudes regarding mental and physical labor in Western culture.--Publisher's website.

"Photographing strangers on the street is like having an epic novel read aloud to you, only it's real. You're connected. You're involved. And you carry every piece of it with you from then on."--Amy Touchette A resident of New York City since 1997, Amy Touchette started photographing people in Bedford-Stuyvesant, Brooklyn, soon after moving to the neighborhood in 2015. Perhaps best known for being the childhood home of rapper Jay-Z and the setting of Spike Lee's film Do the Right Thing, what struck Touchette most about Bed-Stuy was its strong sense of community and the relationships that underpin it. Using a Rolleiflex film camera, friends, family members, and couples often caught her eye. Knowing she was a stranger appealing for their time, Touchette tried to make the encounters as quick and easy as possible, making just two frames of each subject. Whether photographing in Hawaii, Japan, Malaysia, Vietnam, the American South, or in her own adopted neighborhood in Bed-Stuy, Touchette has always used photography to shine the light on others, a strong believer that eye contact is the gateway to empathy and the realization that we are all in this together. Although all of her projects stem from a personal endearment, these photographs, set in the streets she calls home, are especially personal.