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The still image and the moving image met, at a certain time, around the thirties in a desire to give an account of reality. They then found themselves in turn behind this lens, influenced by a certain scientific culture. Photographers and filmmakers introduced theories, invented rules in which formal lexicons had to replace the pioneers. The audiovisual field, wanting to reproduce the movement of the world, believed for a moment, to reproduce the movement of life and while the photographers multiplied the shots, the filmmakers shot continuously. A race to capture the real began in these early hours of the meeting between photography and documentary film. The digital revolution and the development of new broadcasting media dissipate the boundaries between the different mediums. Photography seems to feel cramped in its fixed frame and is increasingly haunted by the moving image and sound. It is a question of understanding what influences photography draws from the plastic and didactic issues of other cultures (moving image and sound).
About the author
Ines Jarraya ist Doktorin der Designwissenschaften und -technologien und Universitätsassistentin für audiovisuelle und Filmwissenschaften und -techniken in TUNESIEN.
