Tempo fotográfico e tempo cinematográfico: reciprocidades

Abstract

If at first cinema can be distinguished for representing the duration of time, photography, in its turn, is known for retaining the flow of time. This division, nevertheless, ends up being merely circumstantial as one considers works that mix the two domains: filmmakers like Godard, David Claerbout and Juan Millares use photography to stop time stream while photographers and artists like Alexey Titarenko, Mimmo Jodice and Douglas Gordon have refused the tyranny of the shutter release that only captures time summits. The dialogue between photography and cinema has been forcing the limits attributed to each of them, thus affecting our perception of how memory works and how time is related to each of these media.