ABSTRACT
The author attempts to revive scholarly interest in artistic depictions of sport, starting with frozen movement in painting, photography, and sculpture – paradigmatically Myron’s Discobolus. Such works are framed as adstract (as opposed to abstract) by taking from the comprising movements individual time-slices. The sport film genre is examined for its key properties, subgenres, realism versus romanticism, and the peak shift effect. The author identifies a paradox of sport similar to the paradox of fiction, as well as a compound paradox of sport fiction. A contextual approach to the paradox of fiction is applied to the paradox of sport fiction, together with an acknowledgment of the arbitrary appearance of most emotional investments seen objectively.
