The Image to Come. How Cinema inspires Photographers

Magnum Photos and the Cinematheque Francaise sendt 10 photographers to the movies and asked them to create original work in response to the oeuvre of a film director who has influenced their vision. In carrying out the assignment, Abbas, Antoine D’Agata, Bruce Gilden, Harry Gruyaert, Gueorgui Pinkhassov, Gilles Peress, Mark Power, Alec Soth, Donovan Wylie and Patrick Zachmann have set out to absorb all the mixed media that differentiates the moving image from their own intensely distilled single frames: Beyond prints, projections and film stills, they consider audio-visual material, written notes, soundtracks, and publications, each in his own way exploring the domain of the visible. Among their subjects: Pinkhassov looks at Andrei Tarkovski, Gruyaert at Michelangelo Antonioni, Abbas at Roberto Rossellini, Power at Krzysztof Kieslowski, Soth at Wim Wenders and Gilden more broadly at film noir from the 40s and 50s.

Text: Dufour Diane, Toubiana Serge. cm 16,8×23,5; pp. 208; COL and BW; hardcover. Publisher: Steidl, New York , 2006.

ISBN: 9783865213969| 3865213960
Request info

Product Description

Magnum Photos and the Cinematheque Francaise sendt 10 photographers to the movies and asked them to create original work in response to the oeuvre of a film director who has influenced their vision. In carrying out the assignment, Abbas, Antoine D’Agata, Bruce Gilden, Harry Gruyaert, Gueorgui Pinkhassov, Gilles Peress, Mark Power, Alec Soth, Donovan Wylie and Patrick Zachmann have set out to absorb all the mixed media that differentiates the moving image from their own intensely distilled single frames: Beyond prints, projections and film stills, they consider audio-visual material, written notes, soundtracks, and publications, each in his own way exploring the domain of the visible. Among their subjects: Pinkhassov looks at Andrei Tarkovski, Gruyaert at Michelangelo Antonioni, Abbas at Roberto Rossellini, Power at Krzysztof Kieslowski, Soth at Wim Wenders and Gilden more broadly at film noir from the 40s and 50s.