Moving Pictures by Anne Hollander

By Anne Hollander

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Her emotional freigh t.. Th e reading eyc is rcady for it, j ust. as it. is for printcd typc, and noth ing impedes thc swi rt flight, and s harp dig of g raph ic wit. Nothing in color is ever so funny, even t hough it muy be more fun . Th e blnck-a nd-wh ite mode remains the ve hicle or a truthfulness that is temporally conce i\'ed and notated, a nd that deals with the drama of subj ec· tivity. IIood much more than it urges sympnthy or promotes thought. However important its sensory impact is, color is unnecessa ry to significa nt narrat ive , as co mic strips show.

GOIlE' so fur. But the cam era sal. ull comfortably between high and low art, whe re it still rema ins. he corn merc ill l scope of all pic ture -making, Although the engraved r eproduc ti on of paintings had been an estab lis hed branch of graphic art for ce ntu r ics, it was exclusivc and expens ive. han for the public at large, who were eonsulIle rs of all the popular political, comme rcial, an d crude re ligious image ry flooding Europe sinee the invention of printing itself. Cheaper, more generally a ccessible, and more accurate re produ ctive methods were constantly being sought and tried; but it was the came ra that made the greatest leap.

Th is is eharllc teristie of the cincmatic lIIode, Any ull folding dnlllltllllll,Y contllin the prescncc of phcllomenu that con tribute lIli ghtily to the audie nce's cngagelllent ill the action, but a lso fai l to con vey any rrlldahl(' lIlellning. ain Lies-are t he for(>nlllllE'rs of Rim. The objects in Van Eyck's mllI"I"iagc portrait arC' like' this: so are th e Diles in Ma net 's ulwclteOI/ ill Ihe Studio. erior s by EItIUlllI ('1 de Wi lte, or the wllte r and fir e in Turne r 's visions. Tlws{' paint ings urc lIot unecdo ta l, but t hey 8re infinitely drumutic, full of pl'omis{' lt ll d continu OliS s uggest ion .

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Moving Pictures by Anne Hollander
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