Les Formes cinématographiques du discours photographique. Le cas de Men at Work, de Lewis Hine

Lewis W. Hine’s series on the construction of the Empire State Building, published in 1932 in Men at Work, the photographer’s only book, offers a pioneering form of photographic enunciation within the history of the medium that is inspired by the cinematographic language. Compared with the evolutio...

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Main Author: Marc-Emmanuel Mélon
Format: Article
Language:English
Published: Milano University Press 2015-10-01
Series:Cinéma & Cie
Online Access:https://riviste.unimi.it/index.php/cinemaetcie/article/view/16428
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author Marc-Emmanuel Mélon
author_facet Marc-Emmanuel Mélon
author_sort Marc-Emmanuel Mélon
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description Lewis W. Hine’s series on the construction of the Empire State Building, published in 1932 in Men at Work, the photographer’s only book, offers a pioneering form of photographic enunciation within the history of the medium that is inspired by the cinematographic language. Compared with the evolution of photographic illustrated magazines during the 1920s, and the use of montage by the designer Stefan Lorant, Hine’s series appears to be the first to have employed cinematographic continuity to express an allegorical idea: the links between the pictures are like the links between the men at work. A brief detour via Ėjzenštejn theory of montage helps understand that just as each picture is a part of the whole series, each of the men is a part of the working class who built the highest skyscraper in the world.
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spelling doaj.art-a1241bbe0753495a956e4aeca59e84de2024-02-15T15:28:33ZengMilano University PressCinéma & Cie2036-461X2015-10-011525Les Formes cinématographiques du discours photographique. Le cas de Men at Work, de Lewis HineMarc-Emmanuel Mélon0Université de Liège Lewis W. Hine’s series on the construction of the Empire State Building, published in 1932 in Men at Work, the photographer’s only book, offers a pioneering form of photographic enunciation within the history of the medium that is inspired by the cinematographic language. Compared with the evolution of photographic illustrated magazines during the 1920s, and the use of montage by the designer Stefan Lorant, Hine’s series appears to be the first to have employed cinematographic continuity to express an allegorical idea: the links between the pictures are like the links between the men at work. A brief detour via Ėjzenštejn theory of montage helps understand that just as each picture is a part of the whole series, each of the men is a part of the working class who built the highest skyscraper in the world. https://riviste.unimi.it/index.php/cinemaetcie/article/view/16428
spellingShingle Marc-Emmanuel Mélon
Les Formes cinématographiques du discours photographique. Le cas de Men at Work, de Lewis Hine
Cinéma & Cie
title Les Formes cinématographiques du discours photographique. Le cas de Men at Work, de Lewis Hine
title_full Les Formes cinématographiques du discours photographique. Le cas de Men at Work, de Lewis Hine
title_fullStr Les Formes cinématographiques du discours photographique. Le cas de Men at Work, de Lewis Hine
title_full_unstemmed Les Formes cinématographiques du discours photographique. Le cas de Men at Work, de Lewis Hine
title_short Les Formes cinématographiques du discours photographique. Le cas de Men at Work, de Lewis Hine
title_sort les formes cinematographiques du discours photographique le cas de men at work de lewis hine
url https://riviste.unimi.it/index.php/cinemaetcie/article/view/16428
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