A photograph featured in a film scene is a wormhole connecting the space-time of cinema with another space-time that is not present in the film scene in question. The appearance of photographs in film scenes and their utilization in various modes of artistic production have become part of the milestones of cinema. Inspired by a 1951 photograph by Lucien Hervé, Wind/Szél (1996), one of the works presented by Marcell Iványi, shows what is absent from the photograph. Six hundred photos of the Genbaku Dome in Jean-Gabriel Périot’s 200000 Phantoms (2007) make us feel the dilation of time.
This session will explore how a single photograph is utilized (in mise-en-scène, cinematography, and narrative) in artistic cinema production. How do photographers use their photographic methods as a reference in their artistic research? More so, how does the practice of photographic tradition occur in popular cultural products?
