shadow jump 174 from the series: the shadow and I
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For a great deal of its history, the shadow is recorded in Western art on a basis of narrative need. The story of St Peter's shadow led to Masaccio's fresco; Murnau made much of the shadow in the film Nosferatu despite his source, Bram Stoker's Dracula being clear that the vampire did not cast a shadow. The works I find interesting are where the existence and depiction of the shadow goes beyond the narrative into a separate reality -- I should name Chamisso's story of Peter Schlemihl and Wilde's story of the Fisherman and the Mermaid.
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In China and Japan the shadow of the person, 人影, is almost totally unknown in the classical media of brush and ink or wood block printing. I should like the opportunity to study this difference in more depth.
</body> Images Copyright Aldobranti ©2010-2017. All rights reserved.
shadow jumping 174
biogon 38mm, scanned 120 negative
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there is something for me here of our rôles reversed, seen from the shadow's point of view as the photographer, framed against sky and trees tries to jump on it.
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