Texturas da pele e a sua geografia em close-up

Alain Resnais, "Hiroshima mon amour" (1959)

Any huge close-up reveals new and unsuspected formations of the matter; skin textures are reminiscent of aerial photographs, eyes turn into lakes or vulcanic craters.

Siegfried Kracauer, in Theory of Film: The Redemption of Physical Reality (1960), Princeton, p. 48

Etc.

O primitivo plano fixo por vezes deixa de ser Do cinema para passar a ser Da fotografia

James Benning, "Ruhr" (2009)

In the primitive era when camera was fixed to the ground it was natural for filmmakers to concentrate on moving material phenomena; life on the screen was life only if it manifested itself through external, or "objective", motion.

Siegfried Kracauer, in Theory of Film: The Redemption of Physical Reality (1960), Princeton, p. 34