Photo-filmic images in contemporary visual culture

6. Mutation, Appropriation and Style

“…I prefer to use this existing neologism rather than invent another, albeit my own application of it may differ from that of its authors. SeeStreitberger and Van Gelder 2010; Cohen and Streitberger, eds. 2016.…”

Within All This Can Happen: Artefact, Hypermediacy, and W. G. Sebald

“…These mechanisms, along with the use of overtly archival materials distinct from the digital editing, further disable the possibility of filmic immediacy and partially return the images to their points of origin in the past. Indeed, it is mechanisms such as these that have enabled what Streitberger and van Gelder define as "photo-filmic images," 17 based on the insight that the ontological difference between film and photography, usually claimed by scholars of photography theory and film studies up to the 1990's, no longer holds in the digital era. With the advent of digital technology, the boundaries between the photographic and the filmic image are constantly blurred, both technically […] and perceptively-in leaving the spectator in doubt of the (photographic or filmic) nature of the image.…”