For a long time, comparisons of cinema and photography have been predominantly a question of contrast, both of their forms and their ways of seeing. This special issue of Cinéma & Cie reverses the perspective, by addressing some of the fundamental spaces of convergence and coexistence between the two languages. While they have always been somewhat present in the history of the two arts (not only in chronophotography, but also astronomic photography, photographic series, and still photography), the photocinematic forms have become particularly relevant in the archaeology of post-media culture that has characterised much scholarship lately. What tools should we employ to study these confluences today? Is it possible to perceive overlapping images also in strictly cinematic or photographic works? From this perspective, the special issue deals with borderline authors, such as Jeff Wall; post-filmic aesthetics, such as the cinematic tableau vivant and innovative examples of contemporary, experimental audiovisual production.

Luisella Farinotti, Barbara Grespi and Barbara Le Maître, Suspended Evidence: Rethinking the Photographic

Francesco Giarrusso, From Stillness (in)to Motion through Astronomical Images: The Cases of Jules Janssen’s Photographic Revolver and Josep Comas i Solà’s Spectrographic Cinematography

Marc-Emmanuel Mélon, Les Formes cinématographiques du discours photographique. Le cas de Men at Work, de Lewis Hine

Francesca Scotto Lavina, Still-moving Engrams: The Ecstasy of Bodily Gestures in Chronophotography and its Contemporary Reproductions

Elena Marcheschi, Deterritorialized Images. Future Visions, Past Memories

Barbara Le Maître, Jeff Wall, beyond the Borders of the Medium. Photography, History Painting and the Cinema of the Living-dead

Àgnes Petho˝, The Image, Alone: Photography, Painting and the Tableau Aesthetic in Post-Cinema


Micaela Latini, The Vision of the End. Anders on the TV series Holocaust