While photography and film were once rarely studied in the same institutional spaces, with photography a province of Art History, and film finding a home in departments of literature, this is clearly no longer the case as art historians reckon with the ubiquity of film, video, and the projected image in contemporary art practice and as film scholars turn their attention to cinema’s affinities with photography, a turn largely prompted by the confrontation with cinema’s obsolescence in the age of digital reproduction. Over the course of the semester, we will examine how these hybrid mediums have developed and defined themselves through and against each other. We will examine film and photography practices from the late nineteenth century through to the present day, focusing not only on how one medium frames, incorporates, or resists the other, but also on the practices and theories that emerge in the interstices between the two. Readings include work by Walter Benjamin, André Bazin, Roland Barthes, Tom Gunning, Rosalind Krauss, George Baker. Weekly screenings will be part of the course.