STREULICHT #3 - Cinematic

Images move, images stand still – what narratives are engendered in the interplay between photography and film?Where do they contradict, complement and overlap?How do images assemble themselves into an entity, how do they combine and separate themselves?“Photography, this is the truth. And film is the truth 24 times a second.” (from Jean-Luc Godards „Le Petit Soldat“)What forms of thought and documentation produce still and moving images?Does each type of image produce a different kind of authenticity?Do static images “speak” more than moving images or vice versa?

Andreas Spiegl
ALLES BEWEGT SICH, NICHTS VERGEHT EVERYTHING IS IN MOTION, NOTHING PASSES
24-25

Andrea Gnam
BILDER MIT UND OHNE EINLEGEBLATT:
ALBUM, FILMEPISODE, FOTOBUCH IMAGES WITH AND WITHOUT AN INSERTPAGE:
ALBUM, FILM EPISODE, PHOTO BOOK
46-49

Interview
SUSANNE MIGGITSCH ~ AMELIE ZADEH
58-61

Walter Moser
WARREN LYNCH FOTOGRAFIERT ERICH VON STROHEIM - ZU DEN FILM STILLS VON GREED
WARREN LYNCH PHOTOGRAPHS ERICH VON STROHEIM - ON THE FILMSTILLS OF GREED
Redaktion / Editors
GLOSSAR / GLOSSARY
76-77

Barbara Toifl / Roy Andersson
Übersetzung und Leseprobe / Translation and Excerpt
DIE ANGST VOR DER ERNSTHAFTIGKEIT IN UNSERER ZEIT.
OUR TIMES' FEAR OF SERIOUSNESS.
86-91

Susanne Holschbach zu / on:
PEGGY BUTHS UNKNOWN
129-130