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MULTIMEDIA ART MUSEUM, MOSCOW
MUSEUM "MOSCOW HOUSE OF PHOTOGRAPHY"
16+
RuEngl

Cinema. Remark

Nikita Dyagterev. From the series “Persona” Evgeniy Granilshikov. From the series "TV" Evgeniy Granilshikov. From the series "TV" Anna Kabisova. From the series "Love Mood" Anna Kabisova. From the series "Love Mood" Andrey Rezhet. From the series "Stained" Greta Dimaris. From the series "Philosophy"

Nikita Dyagterev. From the series “Persona”

Evgeniy Granilshikov. From the series "TV"

Evgeniy Granilshikov. From the series "TV"

Anna Kabisova. From the series "Love Mood"

Anna Kabisova. From the series "Love Mood"

Andrey Rezhet. From the series "Stained"

Greta Dimaris. From the series "Philosophy"

Moscow, 10.04.2012—27.04.2012

exhibition is over

The Rodchenko Moscow School of Photography and Multimedia

2nd Krasnoselskiy side st., 2, 107140, Moscow, Russia
http://www.mdfschool.ru/

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Curators: Vladislav Efimov, Sofia Gavrilova

Comment on Cinema

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Curators: Vladislav Efimov, Sofia Gavrilova

Comment on Cinema

As a genre cinematography began by combining instant photography (in the form used by Muybridge) with an earlier invention, the magic lantern. Other non-photographic elements such as montage and sound were added to film later. However, photography takes precedence in cinema, as the determining factor of film. By its very nature photography continues to exist in the nature of cinematography.

Like the realistic tendency in cinema, photography explores life, but it lacks sound and montage, the main technical instruments of cinematography that establish a meaningful sequence for the frames. Photography and cinema frequently act as instruments for scientific examination, allowing us to divide material phenomena into separate parts, to unite, combine or contrast them. On the other hand, following the ’form-creation’ line of development, cinema involves a constant quest for new visual mechanisms. Early 20th-century notions that the development of cinema would oust photography have now proved erroneous. But undoubtedly the appearance and rapid expansion of cinema studios over the last 100 years has influenced the evolution of contemporary photography.

This exhibition project examines the inner space of the cinematographic work as a whole and its interaction with photography, as well as the way film production has invaded human life. While accepting that photography lies at the heart of cinema, we ask how it is possible to convey characteristics that apply primarily to the genre of cinema in photography, without using formal imitation by means of photo-films or slide shows.

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