Photography as interdisciplinary art form: from painting to cinematography
From the technical perspective, a film is a sequence of still pictures giving us a sense of the elapsing time. The first attmept to find this additional dimmension, that is the passing time could be traced back to some of the impresionistic paintings: Paul Cezanne is believed to have experimented with the idea of capturing the 4th dimmension in some of his works, depicting the same object, or a landscape from different perspective and recording a changing light and angles within the same painting.
Later on, this idea was explored by Cubists, like Pablo Picasso, Marcel Duchamp and the idea of depicting movement inspired Futuristic painters (Giacomo Balla) and sculptors (Umberto Boccioni)
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| 1. Marcel Duchamp: Nude Descending A Staircase,1912 | 2. Giacomo Balla: Dynamism Of A Dog On Leash,1912 | 3. Umberto Boccioni: Unique Forms of Continuity, 1913 |
Stills must and often do, encapsulate the meaning in a metaphor leaving plenty to the imagination of the audience, their cultural and cognitive bias, etc. However, there are film directors and DOP that create stunning images of which every sequence can be a standalone still. This is visible in works of Kurosawa (who also started his artistic exploration with painting, before becoming one of the most prominent names in the cinematography), Kubrick or Tarkowski.
I remember watching Ida, critically acclaimed and award (Academy and Bafta amongst other) winning film by Pawel Pawlikowski, and being mesmerised by this exact impression: every frame could make a printable artwork. The cinematographer responsible for stunning photography in Ida was Łukasz Żal , who later created images to, also critically aclaimed, award nominees and winers Loving Vincent (a motion picture made out of 65,000 frames hand painted in oil) and Cold War
