Abstract

David Hinton and Sue Davis go back to the beginnings of cinema in All This Can Happen. A fascination with movement, the desire to understand movement - and stillness - was also at the heart of the work of photographers like Etienne-Jules Marey and Muybridge and filmmakers like Dziga Vertov and is central to All This Can Happen. This paper discusses how the still, which is held on screen, replayed and multiplied, and then released, invite the viewer to watch, to recognize, to marvel, to compare, to be struck, and perhaps to notice a little more about this complexity that is movement. The paper draws on an essay by Maurice Blanchot entitled Two Visions of the Imaginary , in which he reflect on the nature of images