Stillmoving

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This two-volume work explores a static long take, termed a still Einstellung, as well as coexistent still and moving imagery by Lumire, Welles and the MPEG compression codec, to contemplate the kind of image it generates.

Jon Inge Faldalens volumes are a theoretical exploration of the concept of Einstellung. The author keeps the original German term, capitalizing on the ambiguity inherent in this type of image phenomenon; in this case, the long take, or at least a continuous unbroken take, effected by an immobile camera whose captured content could potentially contain perceptible movements produced by entities within the composition framed. The author embraces neologisms in order to capture specific aesthetic-technical phenomena more accurately than has hitherto been possible.

Stillmoving I is a film theoretical exploration of the concept of Einstellung. The author asks whether this image is a still image, or a moving image, or both, or neither, or, finally, what Faldalen terms stillmoving. Underlying these deliberations is the question of how cinema represents or mediates stillness. It unfolds over three chapters that examine the concept of still Einstellung in relation to slow cinema scholarship throughout the last two decades, in relation to approaches referred to as stillmoving scholarship, and in relation to reflections and shadows.

Stillmoving II continues the work of the first volume, exploring the concept of Einstellung through a small set of specific case studies, including Louis Lumires Quai de lArchevch (Lumire operator, 1896), Andr Bazins analysis of the kitchen scene in The Magnificent Ambersons (Orson Welles, 1942), and James Bennings Stemple Pass (2012), as well as what the author calls digital imagenesis, which concerns the MPEG compression codec.

Author Bio

Jon Inge Faldalen is Associate Professor of Media and Screen Studies at the University of Oslo, Norway. He is the founder of the multi-million kroner research and teaching initiative Screen Cultures (2019-2024) at the University of Oslo. His research is primarily in the disciplines of screen studies and cinema and media studies, and he frequently writes and talks about films and tv series. He has to his name close to five hundred critical reviews, essays and interviews, and has since 2003 interviewed hundreds of filmmakers, including the late Theo Angelopoulos and Abbas Kiarostami, Frederick Wiseman, Roy Andersson, Judd Apatow, Miranda July, Hirokazu Koreeda, David Lynch, Jafar Panahi, Ulrich Seidl, Abderrahmane Sissako, Joachim Trier, Liv llmann, Apichatpong Weerasethakul and Ruben stlund. A manuscript on the work of Joachim Trier (Becoming The Worst Person in the World: Joachim Trier, Style, and the Phases of Filmmaking) is forthcoming.