| Abstract: | The aim of the present thesis is to embrace the common denominators between
photography and cinema as they were in the beginnings of cinema. Via discovery of the
tensions and intersections between the moving image and the still frame in the early
motion pictures, and juxtaposing them with the chosen instances of the nineteenth
century photography, the author explores the relationships bonding and/or
differentiating the two modes of the act of seeing with its technologically-imposed
indirectness, which, in turn, shaped the new ways of understanding and (re-)presenting
the time, the body and the remembering. The early days of cinema are examined in the
context of the contemporary revival the bond between the photography and motion
picture has been undergoing, as one can clearly observe in the digital convergence,
audiovisual arts and cinema-inspired photography. The questions undertaken in the
course of the present thesis, one may argue, incorporate themselves in the “turn towards
the history” trend, a significant constituent of the modern still/moving field study which
accordingly scrutinizes the liaisons between the still and the moving images. |