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by Libby Saxton (Author)
The first detailed study of what filmic images can tell us about iconic photographs, No Power Without an Image reveals the multifaceted connections between seven celebrated photographs of political struggles, taken between 1936 and 1968, and cinema in all its forms.
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'A singularly important and rich intervention that explores the entwined media of film and photography as they shape some of the world's most iconic photographs. The book is ambitious and assured in its international scope and scale, combining rigorous historical and archival research with powerful textual analysis. Still images move, and move us, the book argues, and the cinema is a motor force in this movement.' Guy Westwell, Queen Mary University of London 'This book is a sophisticated and subtle discussion of the hitherto forgotten contexts of iconic photographs, which demonstrates the complex intertextuality of the historic photograph and the dangers inherent in isolating it from its place in visual culture.' Damian Sutton, University of Coventry The first detailed study of what filmic images can tell us about iconic photographs, No Power Without an Image reveals the multifaceted connections between seven celebrated photographs of political struggles, taken between 1936 and 1968, and cinema in all its forms. Moving from the 'paper cinema' of magazines via newsreels and film journals, to documentary, fiction and experimental films, this fascinating book draws on original archival research and multidisciplinary icon theory to explore new ways of thinking about the confluence of still and moving images. Libby Saxton is Senior Lecturer in Film Studies at Queen Mary University of London. Cover image: May 68 Demonstrations in Paris: 13th May. Photo by Walter Carone/Paris Match via Getty Images (c) Walter Carone / Contributor Cover design: [EUP logo] edinburghuniversitypress.com ISBN 978-1-4744-6315-7 Barcode
Author Biography
Libby Saxton is Reader in Film Studies at Queen Mary, University of London. She is author of Haunted Images: Film, Ethics, Testimony and the Holocaust (Wallflower, 2008), co-author of Film and Ethics: Foreclosed Encounters (Routledge, 2010) and co-editor of Holocaust Intersections: Genocide and Visual Culture at the New Millennium (Legenda: 2013). She is writing a book on iconic images, photography and cinema.
