Is a photograph worth a thousand films? 1

This article aims at scrutinising the narrative power of a medium which one considers unable to perform narrative tasks: photography. Not only has photography a problem when it wants to tackle issues of time, storytelling and fiction; moreover, the medium is suffering from the negative comparison with one of the media that has replaced it (‘remediated’ in the sense coined by Bolter and Grusin), film – a medium initially called ‘animated photography’. Yet the analysis of an example, a picture by Henri Cartier-Bresson which also exists in movie form, suggests that the power of a fixed image may exceed, under certain circumstances, that of a mobile image. In order to understand this paradox, however, one needs to analyse narrativity not only in terms of media forms, but also in terms of media practices and to stress the role of the reader.     

Social documentary and personal investigations in contemporary South African photography: Tracey Derrick’s “One in Nine” series

A shell of white gauze floats against a split background in Tracey Derrick’s 2009 photograph, Inhabit – Habergeon – middle English, piece of armour to protect the neck and chest (Inhabit), both autonomous and materially frail. The shadowed wall lifts the calcified gauze towards the viewer, as its lithe body hovers above the vertical divide that separates light from dark. This position apart from the edge may be read as a passage missed or overcome. A year of invasive treatment following her diagnosis of stage two breast cancer in March of 2008 led South African documentary photographer Tracey Derrick to create a photographic series that combines her humanist sensibility with personal reflections on illness. Derrick represents meditations on her trajectory through illness in “One in Nine: My Year as a Statistic,” a collection of reposeful digital colour photographs – including Inhabit – that features the cast Derrick made to obtain accurate measurements for her prosthesis. This body of work complicates a widely held assumption that post-apartheid photography in South Africa focuses more on the individual than collective societal issues. Derrick’s unusual series warrants methodological treatment that attends to the complex ways in which the visual vocabulary and concerns of apartheid-era documentary photography overlap with the personal explorations associated with post-1994 photographic production. In this paper, I utilise socio-historical, psychoanalytic and phenomenological readings of Tracey Derrick’s photograph and “One in Nine” series to elicit an interpretation of the image and series as statement of agency within a metaphorical battle against an invisible, yet pervasive disease. By reading Derrick’s photograph through these theoretical lenses, I reveal her image to be a metaphoric assertion of tenacity and Derrick’s agency, and highlight the areas of overlap between Derrick’s documentary practice and her more personal “One in Nine” project.     

Spatial Form and Character Revelations: Korolenko’s Siberian Stories

Arguably, few popular films during the last decade have caused so much debate, and been more frequently quoted as film The Matrix (1999), written and directed by Andy and Larry Wachowski. This paper analyzes allusions to the film in four works of contemporary Russian prose fiction. These works exploit, to various degrees, The Matrix in order to evoke visual representations from the film, and to draw on structural concepts and similarities. Further, I argue that references to The Matrix are made in order to benefit from the film’s eclectic mythological concepts and transpose them to the literary realm. This kind of cross-fertilization could be seen as a growing trend where the borders between different media are becoming more fluid, and where they benefit from each other, be they novels, films, or computer games.     

Anticipating Nollywood: Lagos circa 1996

This essay discusses the Nigerian film Owo Blow (1996 Owo Blow. 1996. Film. Directed by T. Ogidan, Nigeria: First Call Production and Support.  [Google Scholar]), as a way to examine an aesthetic tendency that is largely missing in Nollywood, and to explore the relationship between media and the city, particularly in regard to Lagos. I use this film to propose three issues that are worth highlighting for a productive engagement with the relationship between media and urbanity. First, I argue that the current global interest in Nollywood is highly mediated, isolating the English‐language‐accented, popular genre‐formatted sub‐genre as the Nollywood film. Secondly, this process of mediation has tended to a kind of totalisation because it emphasises the commercial as the primary identity of the cinematic practice. Thirdly, I argue that the possible globalisation of Nollywood is undercut by limitations on how well the generic type can travel. Although recent and longstanding bureaucratic exhortations of Nigerian filmmakers to promote positive images of the country are often derided, Nollywood already fulfils this expectation by default because a systemic, ideologically explicit critique of Lagos as an urban city, for instance, is hard to come by in the films. I contrast this with Owo Blow, which attempts one such critique, a multi‐layered analysis of Lagos as a case study of the postcolonial incredible.     

“Ancient Volscian Border Dispute Flares”

Reception of the 2012 film adaptation of Shakespeare's Coriolanus, directed by and starring Ralph Fiennes, dealt with two particular themes: the homoerotic relationship between Fiennes' Coriolanus and the rebel leader Aufidius whose forces he eventually joins, and the choice to shoot the film in Serbia and Montenegro. While south-east Europe has become an increasingly popular location for Anglophone filmmaking, the promotion and reception of Coriolanus foregrounded the significance of Belgrade and the Balkans as a site of recent conflict. Moreover, the film constructs the world of Coriolanus and Aufidius through simulating or even re-using images of “Balkan” space with which viewers have already become familiar through news media, and it therefore draws on and contributes to representative practices that constitute the Balkans as a violent and warlike zone. Yet Aufidius' rebel force resembling militias from the Yugoslav wars is opposed to a highly disciplined “Roman” military equipped for urban warfare in 2000s Iraq. This article contends that the film achieves this contrast primarily through evoking different military masculinities associated with each force, which have been widely disseminated through still and filmed war photography, and secondarily through its use of specific ex-Yugoslav landscapes and cityscapes. The complex relationship between images of the Balkans, masculinity and military discipline in Coriolanus shows that images of military masculinities juxtaposed with a post-Yugoslav material environment continue to operate as symbolic resources in a contemporary western imaginary of war.     

Speaking for herself: Andrea Dunbar and Bradford on film

In October 2010, the radio broadcaster Philip Dodd interviewed Clio Barnard about her new documentary, The Arbor (2010), based on the life of the late playwright Andrea Dunbar. As part of the film-making process, Barnard recorded audio interviews with Dunbar’s family then hired professional actors to lip-synch the responses in the film. Dodd had a major problem with this method: The Arbor is rooted in the lives of working-class Northern women, yet for Dodd, ‘they’re not good enough to be seen’. In a passionate defence, Barnard argued ‘I wanted people to speak for themselves’. This article examines Barnard’s film in conjunction with Rita, Sue and Bob Too!, for which Dunbar wrote the screenplay. A paradox is considered, where the ‘real’ and ‘authentic’ female voices of Dunbar, her family and neighbours are then mediated by cinematic form; this is placed within a wider argument about how issues around realism and representation in documentary and fiction film contribute to our understanding of the North in popular culture. The analysis then situates this thinking in terms of the representation of Northern writers and spaces, considering how the site-specific locations of writers affect the kind of cultural texts that they are able to produce.     

Migrant narratives as photo stories: on the properties of photography and the mediation of migrant voices

This article examines how the properties of photography might mediate voice, defined as the capacity to speak and to be heard speaking about one’s life and the social conditions in which one’s life is embedded. It focuses on the affordances that the image provides for migrant cultural minorities to articulate such a voice within the context of collaborative research. I look at the case of Shutter Stories, a collaborative photography exhibition featuring the photo stories of Indian and Korean migrants from Manila, The Philippines. Using participant observation data, I show that it was photography’s ability to be all at once indexical, iconic, and symbolic that became important in voice as ‘speaking’. It allowed migrants to tell rich, multimodal narratives about their lives, albeit with some key limitations. I also show that it was photography’s inability to fix meanings with finality that mattered in voice as ‘being heard’. Although the locals who visited the exhibition engaged with the photo stories in an overwhelmingly positive manner, they often did not completely grasp the migrants’ complex narratives. All these data indicate that collaborative photography exhibition projects should not just be about how migrants speak and are heard. They should also be about how migrants can listen, so that they can adjust what they say to how they are being heard. This is a valuable reminder that in conceptualising photography and migrant cultural minority voices, we also need to take into account the broader process of multicultural dialogue.     

Celebrating life after death: the appearance of snapshots in Japanese pet gravesites

This paper examines the content, display and communicative value of snapshot photographs found in Japanese pet cemeteries and identified as doubutsu no haka no shashin (animal grave pictures). A case study from Jindaiji Pet Cemetery in Tokyo explores how ordinary people illustrate Berger's anthropomorphization theme through observed relationships between family photography, pet-extended families, memory and beliefs in the afterlife of both humans and their animal companions. Evidentiary values and pictorial features of personal pictures of domestic animals are discussed and related to Japanese society and culture, to home media, vernacular photography and visual culture.     

PUBLIC ART/PRIVATE LIVES

This essay traces a body of work, as it emerges in the space between visual art and an engagement in the public sphere. A range of projects and exhibitions, using photography as medium, is described in the context of a discussion about the complexity of the photographic transaction. All of these projects explore notions of intimacy, pushing at the boundaries between ‘the private’ and ‘the public’ in the South African public cultural domain. The essay focuses particularly on Hotel Yeoville (2010), a participatory public art project-based online and in the library of the old Johannesburg suburb of Yeoville. Yeoville's estimated 40,000 inhabitants are largely disenfranchised migrants and refugees from every part of the African continent. The project comprised a website and an exhibition space with a series of digital, interactive booths in which members of the public were invited to document themselves through mapping, video, photography, text and social media applications. The essay reflects upon the performative, evocative and expressive potentials of the media platforms that could be accessed through the Hotel Yeoville installation and in this particular social and political context asks questions about the photographic encounter and its relationship to self-representation, truth, knowledge and power.     

Images,Ideology, and Praxis in the Environmental Movement: Sebastião Salgado’s Genesis Project

This article is part of a panel discussion addressing the sociological relevance of Sebastião Salgado’s work as well as documentary photography in general. ² I focus specifically on environmental sociology.     

Coming Out as Queen: Jewish Identity,Queer Theory,and the Book of Esther

Alfred Hitchcock’s film Psycho (1960) is a significant work on many levels—to Hitchcock’s career, to film history, to the horror genre. I propose that a crucial aspect of Psycho’s design, one that relates to Hitchcock films as a whole, is its thematization of a concept that I call the “death-mother.” A distinction between Mrs. Bates/“Mother,” on the one hand, and the death-mother, on the other hand, impels this discussion. The death-mother—which relates to the varieties of femininity on display but exceeds their specific aspects and implications—is an effect produced by the film text and can only be understood through an analysis of the work as a whole. Exceeding the specifications of the Mrs. Bates character, the death-mother maps onto tropes and preoccupations in Hitchcock’s oeuvre but, more importantly, indicates the aesthetic implications, for the male artist most commonly, of the dread of femininity. I develop the concept of the death-mother from the writings of Freud, Nietzsche, and André Green and from feminist psychoanalytic theory: Barbara Creed, in her reworking of Julia Kristeva’s theory of abjection, and Diane Jonte-Pace, in her analysis of Freud’s work. My analysis focuses on the relevance of the death-mother to issues of femininity and queer sexuality crucial to and enduringly controversial within Psycho.     

Media Technologies, Images of Drugs, and an Evocative Telepresence

I regard electronic media technologies as framing devices for how viewers perceive issues associated with illegal drugs. Controllers of electronic media technologies produce and disseminate images of illegal drugs and users of such drugs to which viewers respond. People who control the images of electronic media production create an evocative telepresence, or a visual context that relies on appeals to authority and emotion. However, viewers do not merely respond to images of illegal drugs; rather, they actively interpret such images and draw their own conclusions. To demonstrate the complex relationship between electronic stimuli and viewer responses, I report on a classroom experiment comparing those who saw and heard a heroin user with those who only heard this user. I also report findings from student perceptions of and reactions to four drug films. Results of the experiment and the readings of films indicate that viewers, especially those who can see and hear electronic displays, are sophisticated consumers who respond to immediate stimuli while making reference to distal stimuli. In the main, I contend that electronic images of illegal drugs and users in an evocative telepresence are powerful stimuli, but they do not cause viewer perceptions.     

Is Seeing Believing? Photographs,Eyewitness Testimony,and Evidence of the Holocaust

During World War II, the first media outlets to publish photographs of the Nazi mass murder of Jews and others were Soviet newspapers and magazines. The problem with Soviet photographs was that the Soviet media were considered unreliable from a Western standpoint, because unlike in the West, which perceived a clear ideological differentiation of art from photojournalism, Soviet photography blurred that distinction. According to Western standards of evidence, Soviet photography could never be taken seriously as photojournalism, precisely because the photographer was always metaphorically present. Since Soviet photojournalism failed the test of the documentary imperative, it rarely convinced people of the truth of its subject matter. In this epistemological context when photographs might fail to convince, the act of physically bearing witness, of seeing with one's own eyes, became the most important way of proving to a disbelieving public the veracity of Nazi atrocities.     

The Print Media and Aging Policy:

This article examines the role of the print media in covering complex ploicy issues. Two models of journalism are considered. "Pack journalism" predicts that print media coverage will be highly consistent in content due to the reliance by those in the media on the same sources of information. In this article another model - "Beltway journalism" - is proposed. It implies that coverage by the print media indigenous to the Washington, D.C. area (inside the Beltway) will diverge from that of other print media, presenting a potentially distorted view of the world to policymakers in Washington. Using the Washington Post and the Los Angeles Times as possible indicators of the two models, aging policy is addressed through a case study of newspaper coverage during passage and repeal of the Medicare Catastrophic Coverage Act of 1988. Findings suggest that Congress was unduly influenced by the way that Medicare Catastrophic was framed in the Washington Post, lending credence to the Beltway journalism model. By paying insufficient attention to the way MEdicare Catastrophic was being framed by sources of print outside the Beltway area, lawmakers allowed themselves to assume a grassroots-level understanding of the issue and support for the bill, both of which turned out to be illusory.     

Out of the Blue: the dark side of creative enterprise

This paper draws on an archive of media texts that document the making of the film Out of the Blue. Within these media accounts are statements made by a group of residents resisting the film project, and the film‐makers responding to this resistance. We employ a Foucauldian informed discourse analysis to read these statements of resistance as a starting point to examine the power relations within contemporary knowledge generation processes of creative industries. We theorise creative industries as a discursive object located at the intersection of three discursive formations: ‘creativity’, ‘enterprise’ and ‘place’. Through analysing the particular place–identities of Aramoana engaged by the resisting residents and the film‐makers, we are able to suggest how this film project came to be discursively constituted as creative enterprise. In so doing, we find that the resisting residents’ statements work to disrupt the taken‐for‐granted ‘goodness’ of film enterprise, and creative industries more generally.     

Media Production as Therapy: A Systematic Review

Abstract

The rapidly changing communication environment of the digital age has generated needed discussion regarding implications of media technologies for social work practice. Yet scarce research has considered the therapeutic value of media technologies for social work practice. This systematic review explores how media production is used as a therapeutic intervention in human services to identify the therapeutic value and potential challenges of its application in the field. Media Production as Therapy (MPT) affords a range of therapeutic outcomes, including self- and community-awareness, self-reflection and self-correction practices, self-expression and story-sharing, and processing trauma. Challenges confronted through MPT include time and resource constraints, logistical difficulties, issues of authenticity, and dissemination concerns. Despite limited research, this review provides needed guidance for social workers to harness technology for social good, operating in the digital space to implement MPT interventions that afford a range of therapeutic benefits to clients in an increasingly mediated world.     

Between butch/femme: On the performance of race,gender, and sexuality in a YouTube web series

Drawing on a legacy of Black television and film production, Black web series remediate earlier media forms in order to usher in a twenty-first-century revival of indie Black cultural production. Specifically, video sharing and social media platforms operate as a sphere in which content creators and users are afforded unique opportunities to engage with video content and each other on a variety of levels. Focusing on the YouTube media sphere, one can also observe the myriad ways in which the performance of race, gender, and sexuality influences the types of discourse that circulate within these sites. In watching and analyzing Black queer web series on YouTube, I examine how the performance of gender and sexuality by Black queer women within and outside of web series are policed and protected by both community insiders and outsiders. Utilizing an ethnographic framework, which includes a critical discourse analysis of the YouTube comments for the series Between Women, as well as a textual analysis of series content, this project draws conclusions about the role that the politics of pleasure, performance, and the public sphere play in the recognition and/or refusal of queer sexuality within Black communities.     

"In search of a tale they can live with": about loss, family secrets, and selective disclosure

Several authors have written about family secrets in the family therapy literature in interesting ways. According to these authors, the questions “who knows the secret?” and “who does not know the secret?” are central. In the present study, we have qualitatively analyzed the documentary film Familiegeheim (Family Secret) by the Dutch director Jaap van Hoewijk. The film shows van Hoewijk’s investigation into the death of his father in 1974 and tells the story of a family in which the suicide of the father is kept secret from the three children. Our analysis of the film highlights the complex ways in which families deal with sensitive issues like loss, grief, and suicide. The concept of family secrets seems to poorly capture this complexity, focusing one‐sidedly on the destructive effects of withholding delicate information. The concept of selective disclosure is proposed as an alternative. Selective disclosure refers to the complex processes involved in dealing with the dialectic tension between sharing information and keeping it secret. The concept is not only focused on the destructiveness of secrecy but, in addition, also makes room for an appreciation of the caution with which family members deal with sensitive family issues.