In considering this cinematic ecstasy, it is not only possible but also essential to consider the still photo. The relationship between film and photography is both obvious and ambiguous. In 1937, Beaumont Newhall, founder of the photography department at the Museum of Modern Art in New York, wrote that "aesthetically, the moving picture and the still photograph are so independent that they cannot be compared." It is tempting to think that photography, the older medium by some 69 years, was made obsolete by the rich experience of film. But in The Cinematic (Whitechapel/MIT Press, $25), a new anthology of essays about photography and film, editor David Campany wonders why films have so often featured still images.